AGENDA /TIMETABle

A concert of 7 creative projects of musical and electronic compositions (made mostly with instruments and electronic and digital media) aimed especially at audiovisuals: documentaries, films, commercials, animated or artistic shorts for example.

Videos by participating artists:

Miguel Noya
Composer - Performer - PedagogueCompositions and commissions: Choreographies by: Diane Arvanites, Julie Barnsley, David Zambrano, Luís Viana, Adriana Urdaneta, Marisol Alemán, Alexey Taran, Luis Armando Castillo, Rafael González and Nela Ochoa. Theater - Experimental Theater Workshop. Bands for feature films by: Fernando Venturini, Juan Fresán, Manuel Herrero and Ana Cristina Henríquez. Documentaries: Expedition series, Lagoven Notebooks on the Screen, Venezuela Tierra Mágica. Conceptual multimedia installations shown in the most important Museums of Venezuela. Highlighting: Horizons of the Possible Venezuela Pavilion at the XLI Venice Biennale 1990, Navigating the Future Venezuela Pavilion at Expo Lisboa 1998, and the Andean Amazon Pavilion at Expo Aichi Japan 2005. Collaboration with visual artists: Nela Ochoa, Lucia Padilla, Ani Villanueva, Milton Becerra, Samy Cucher and Julio Pacheco Rivas.Awards: Best soundtrack music for the films Topos, Zoo and 3 Nights.Discography: Intact Songs, Ballrooms on the Moon, Huellas, Psycho - Music, Sent Angels, Living Spheres and Gran Sabana (soloist), Redunjusta, Smellucinations Vol. I and II, All My Relations, The Sirius Expeditions, Redunjusta and Notdunjusta (Dogon ). The Power of Distance (Jünjerdal, Noya), Samliku (Noya, Godwin, Jürjendal), Uncertain Insect (Luis Paniagua, Julio D ’Escrivan, Carlos nene Quintero and Miguel Noya).

Marlon medina
Marlon Medina @der_mod audiovisual producer presents his Experimental Multimedia Project entitled FCKM4C @ FCKM4C, in which each presentation is adapted to common spaces such as stages, theaters, parks, facades or architectural spaces, which are intervened with light and sound generated live.The different nuances of music are explored through harmony and polyrhythmy. Each EP has a theme related to the study of space / time, as well as the dispersion, reflection and refraction of sound and light waves.The project tries to somehow merge science and art through sound and visual textures, using different multimedia resources such as digital projection, light, photography, video, programming, performance or field recordings, among others, to try to create sensations in the viewer surreal that help to expand the perception of the universe that surrounds us.

Mount Espina with visuals by Sean Miller

"Monte Espina explores the non-idiomatic space occupied by constructed and discovered sounds, both musical and non-musical". Tom Carter Monte Espina, an electroacoustic free improvisation duo formed by Ernesto Montiel and Miguel Espinel, focuses on the use of amplified sounds and signal processing to create evolving soundscapes and musical forms. Montiel and Espinel, both born in Venezuela, met in early 2016 while attending experimental music shows around the Dallas-Denton axis. Monte Espina collaborates frequently with others, live and in the studio. Among those who have played and recorded, from the Dallas-Denton and Texas axis: Liz Tonne, Louise Fristensky, Tom Carter, Rebecca Novak, Andrew Jordan Miller, Karl Roehling, Kevin Butler, Aaron González, Steve Jansen, Sarah Ruth Alexander. , Justin Lemons, Chase Gardner, Adriana Valls, Ray Henninger, Derek Rogers, Elaine Di Falco.

Sean Miller
Sean Miller is an artist who works with video, sculpture, installation, live media, performance, and sound art. His work is the result of a synthesis of media, which focuses on themes of incarnation, synaesthetic relationships, and living geology. Sean Miller and Lily Taylor make up the Locations live drone / video presentation group. Sean received his BA in Intermediate Art from the College of Santa Fe in 2004. He has taught at Southern Methodist University and the University of North Texas, where he received his Master of Fine Arts in the spring of 2014. Sean is currently teaching at Dallas College. This work embodies virtual media forms within sculpted architectural structures inspired by nature. My hybrid approach seeks to reconcile the physical and the virtual, uncovering hidden qualities, tensions, and often fortuitous occurrences that emerge in the exploration of multiple forms of media, techniques, and processes. This begins with experimentation as a means of searching for possibilities embedded in disparate materials. I often modify or ignore conventional approaches, which might otherwise function as maps leading to heavily traveled territories. This is a pictorial process, where discoveries are made in the act of doing. The cualities I seek evoke textures, gestures, and sensations associated with music. Discoveries are often the result of a collision of video, sculpture, and sound, in which a powerful multimodal media mix engages the senses. This synthesis suggests places or environments, which allow the viewer to experience a sense of immersion within an artificially constructed but plausible world.

Eduardo Briceño
Born in: Maracaibo - Zulia, February 24, 1966, fan of Synthesizers and self-taught composer, musical studies: one year of Classical Guitar and one year of Organ, musical participation in audiovisual projectsJJ ParisKeyboardist and pianist from a very young age, his talent and interest in the art of music and mathematics have followed a constant, in the exploration and progression towards experimentation, fusion of musical genres combined with electronics.eCanaaneCanaan is another musical aspect of Enrique Rincón Canaán specialized in the composition of environmental electronic music with Venezuelan ethnicity for dance, theater and cinema that began in 1995 with the composition of incidental music for a choreography for the Contemporary Dance Company of Maracaibo, entitled " Lucy". Between 1995 and 2020 he has composed 21 works: Contemporary Dance: for the Companies of Contemporary Dance of Maracaibo, DANZA LUZ and Tente Empie Danza Teatro. In 2011 he composed the music for the film "La Niña de Maracaibo" by Miguel Curiel. And also for the Comedia del Lago and Acción Creativa Theater Companies. Most of the pieces emphasize the strong use of electronic sounds (manipulated to the "concrete musique" or not) and sounds, ethnic loops of Venezuelan indigenous flutes and songs, as well as Afro-Venezuelan drums. The creations are essentially instrumental.

Mario Labarca
Mario Eloy Labarca Portillo was born on Sunday, December 20, 1959 in Maracaibo.Bachelor of Arts from the University of Zulia, mention in Research and Criticism. Graduated from the Neptalí Rincón Higher School of Art, mention in Painting. He studied classical guitar for several years with Professor Angel Luchoni, and later at the José Luis Paz Conservatory of Music for two years with Professor Gerardo Soto, and theory and music theory with Professor Bartolomé Sánchez. From an early age he took classes in four, before beginning to practice self-taught with an old guitar from his maternal grandfather. In high school in the late 1970s he formed his first rock bands: Amanecer, and later the Cristal Band.In the eighties he is recruited by the Progressive Rock group Alpha Crucis that would later be called Avatar. He also had occasional recitals at the University of Zulia and opening concerts, playing his songs with acoustic guitar, with influences of folklore, trova, new wave notes and bucolic Anglo-Saxon folk. With lyrics of relaxed poetry, stories of lost and bluish paradises and uncertain blues, which denote his taste for the geniuses of the south: Spinetta, García and several years later Cerati. At the end of the decade he collaborated as a lyricist and composer for Cyam, a transcendental Zulian pop musical project.During the nineties he made music for contemporary dance, for videos and plays. He creates the short-lived 4minutes late group, seeking a more pop and authentic sound. He would record Soledades, his first work of acoustic new age music and electronic textures and moments of ethnic trance. Later he founded, together with Larry Soto, the instrumental duo Tierrasolluna, of ethno new age landscape music, recording an album of the same name; participating in performances in art galleries in Maracaibo, and joining his work to dance in the project called The Dance of the 4 Elements, during the festival of young choreographers, sponsored by Contemporary Dance of Maracaibo, in the late nineties.In the new millennium he has continued to experiment and compose songs especially with his individual project called: Corazón Shamán, having participated in different scenarios, supported by videos that he himself elaborates, a comprehensive art proposal and musical collages with synthesizers, wind instruments and percussion, mantras and ethno-tribal environments such as ancient healing chants. He has also maintained since 2002 playing with the Bululú vai bye, his power blues and rockpop trio, an eclectic flow of his musical interests, with lyrics and songs full of humor, philosophical reflections, heartbreak, death and rebirth.He is currently part of the progressive Rock band Indalai with which he had the historical experience of playing in 2017 and 2018 at the emblematic Baralt Theater in Maracaibo, creating a proposal where the synthesized guitar and his voice are the important musical contributions for the development of the projectIn 2019 he participated as a guest in the 2nd edition of the 1st FERNE, the elemental music festival.