February Newsletter | Tatiana Rosa

February Newsletter

Dear colleagues, friends and family,(Leaves on the sidewalk, Hoofddorppleinbuurt, Amsterdam, NL)It’s February.The last newsletter went out in early October, and, somewhere in between, autumn quietly passed us by. One moment there were leaves everywhere, the next the staircase outside my door was covered in snow.We’re fully in winter.(Snowy staircase at home, Amsterdam, NL)The coming months will feature very different dimensions of my work.Some projects are just starting, others are mid-research and some are going to be revisited in new contexts.In Viana do Castelo, I’ll be at CMIA for a local community event and project presentation connected to my S+T+ARTS Aqua Motion Residency. A longer note on this project below.Back in the Netherlands, I’ll return to collaborations with Het Muziek, programming and performing electronics in Amsterdam and in The Hague.I’ll also be joining Vera Morais’ EUPNEA project at Plantage Dok - Space Is The Place, once again stepping in for Teresa Costa. It’s a beautiful quintet for three voices and two flutes, and I’m happy to take part as a flutist and piccolo player.Several works by Pedro Matias will (re)appear as well: Dépaysement will be shown again at Brutus in Rotterdam, and a first, small-scale iteration of In the Crust of My Feelings will be open to be experienced at CBK Zuidoost. Its full version will appear sometime later in May. In both cases, my involvement sits within sound and interaction.And I May Fall Into the Sound will return once more, this time at Korzo, with Robin van Rhijn joining us on stage.Hope to see you in one of these places,Tatiana(Smiling with axe in hand. Mood: bring it on. Bica à Boavista, Vila de Frades, PT)

Bica à Boavista Across the seasons, different crops come into hand(s).     (Olives in early November; Mushrooms in early January; Chamomile late January)In November, with friends and family, we laid down the olive nets, shook the branches and collected the olives first into buckets and then into the truck.A portion went to a nearby press, and after 75 liters of oil had rested for two months, we have finally opened the tap.   (Nets, Olives, Olive Oil)January was pruning time, and I even developed a callus on my finger.The cats were “helping,” as usual. (Partially pruned row; Cats on top of the grapevines)(Cats, before-and-after, roughly a year apart.They posed in the same places.Left to right, top to bottom: Pânico, Polifemo, Tareco, Pantagruel)

MEET THE ARTISTS VIDEO - S+T+ARTS AQUA MOTION

Over the past months, we’ve been collecting eDNA from the river, walking along the banks with our host Isabel from Explore Iberia, and spending hours in libraries and archives, gathering documentation on the region and its waterways.Now, it’s time to meet the community.The upcoming event at CMIA in Viana do Castelo will be an opportunity to share what we’ve observed so far and get to know more about the region and the stories of the Lima River from whom actually lives there.In the field,  work takes many forms:  (GPS data from fieldwork at Lima River; Multiparameter probe readings by the river's mouth)Within this work we are also developing small journaling routines to connect differently with each place we visit.We composed a song dedicated to the common pond skater.(Practical note: we are so happy that we purchased waterproof notebooks!) (eDNA ready to be shipped; Rite in the Rain waterproof notebook)We’ve now grown accustomed to our chest waders.The first day, however, was rather chaotic: I was carried away by a wave and ended up completely wet and full of sand inside my suit.The whole event was recorded on video.  (Me and Pedro in chest waders, Rio Lima, Viana do Castelo, PT)

New album seriesInstallation Work ~ Polyvocal DisplacementsOver the years, I’ve realized that most people experience my work primarily in live contexts, in performances, residencies or installations.To make these experiences accessible beyond those moments, I’ve decided to start a new album series: Installation Work.For its debut, I’m sharing Installation Work ~ Polyvocal Displacements, which centers on the installation Dépaysement by Pedro Matias. The piece can be witnessed again at Brutus in Rotterdam, but the album allows the work to be revisited anytime, anywhere. 

Thanks to the support of Fonds Podiumkunsten, I’ve been developing a new research project called (meta)sonic narratives.The work stems from a long-standing interest in non-audible phenomenae - sounds and frequencies often coded as silence or Unsound.I’ve been exploring the concepts of mazes and labyrinths as both metaphors and tools for sonic experience.How losing oneself in space can intersect with the cochlear’s shape, and how psychogeography can inform sonic walks.(ever-expanding mindmap, notes on labyrinths, cochleas and alternative ways of charting)A particularly meaningful moment came when working with my dear friend and collaborator Ilse Jobse, a deaf sign singer, who invited me to give a lecture on music-making in her course MuZien.Planning that lesson together showed me how imaginative engagements with sound can bring deaf and hearing experiences remarkably close. It also helped clarify one of the most grounding ideas of this research: the possibility of Unsound as a shared space, a commonplace for experiences of sound that can resonate across hearing and non-hearing perspectives.

Frames of War - When is Life Grievable?

byJudith Butler