During the twenty-plus years of their collaboration as @c, Pedro Tudela and Miguel Carvalhais’s work spanned composition and performance but also, and prominently, several installations, often site-specific and ephemeral works that have at most been documented with short videos. This series of releases in Crónica is dedicated to revisiting and documenting these installation works, not only in situ recordings but also the computational systems developed for the works, archival materials, and other assets, presenting new compositions that unfold from each of the installations. This series is accompanied by the book Installations / Instalações, also published by Crónica. The second release in the series is LMY-7-10, after the installation of the same title that was commissioned by the Serralves Foundation for the festival Serralves em Festa and curated by Pedro Rocha.
In two spaces contiguous to the Chapel in Serralves — the stairs of its tower and the room adjacent to the choir — the objects designed for this installation explored the space’s architecture and enticed its exploration by visitors, creating an immersive infrastructure for the diffusion of sound. The piece was structured along the two perpendicular axes of the space: the vertical tower and the horizontal room. The tower was kept dark, with the only lights attached to the speakers along the staircase. The room had a big circular window that allowed daylight in and created a continuous variation of illumination. The two spaces bled onto each other. They were two parts that balanced the listening experience and were unified by timbre, with the entire piece created from recordings of harp performed by Angelica Salvi.
This work was inspired by two of LaMonte Young’s pieces from 1960: Composition 1960 #7 and Composition 1960 #10 (“to Bob Morris”), works that can be read more like instructions than scores, as essays on stasis and on its impossibility in a permanently changing world.
This release is part of the Installations series.