An invitation to experience the resonance between cinematic scores and compositions by women composers. Ferreyra, by Tamara García Iglesias and Xabier Erkizia, draws from Beatriz Ferreyra’s concrete music compositions, transforming them into a visual script that places sound at the center of the montage, where the image becomes a vessel for auditory exploration. In Occam Delta XX, Éliane Radigue’s score, performed by Rhodri Davies (harp), Julia Eckhardt (viola) and Aura Satz (film), transforms the cinematic form itself into an instrument, a complex mechanism of translation where the surface of the film becomes as musical as the harp and viola that resonate through it. In Light Music, Lis Rhodes offers a score not in the form of notes, but through the abstraction of drawn patterns, black and white lines projected onto opposing screens, creating a visual symphony of sound and image. Each of these works encourage us to rethink scores as living codes, forms that resist definitive readings, always in flux, and constantly shifting with every encounter. The scores are not merely heard or seen; they are felt, experienced, and reimagined. In these compositions, the spaces between sounds are as significant as the sounds themselves, urging us to listen, see, and engage in a continuous dialogue.
Curated by Ana Júlia Silvino
In collaboration with EQZE — Elías Querejeta Zine Eskola
You can read a talk between Lis Rhodes and Aura Satz here.
Thanks to Tom Pauwels, Judith Van Eeckhout, Tommy De Nys, Mich Leemans
Special thanks to Mary Lattimore and Erwin van 't Hart
Beatriz Ferreyra is a concrete music artist of Argentinean origin, based in France, who has developed her own language in experimental music. This documentary has as a script the scores elaborated by Ferreyra along the years, the sounds and silences she built, and the radical proposal that the image is at the service of the sounds.
English subtitles
Expanding the cycle of Radigue’s Occam Ocean acoustic works, Occam Delta XX is a trio composition featuring Aura Satz, Rhodri Davies and Julia Eckhardt. Radigue transmitted a new score image (or ‘living score’ as she calls them), an image associated with water, to film-maker Satz and long-term musical collaborators Davies and Eckhardt. Rather than producing a film that documents the music and sits outside of it, the film participates in the logic of the score and is developed in an open weave with the composer and musicians.
