Magic by contagion

Coco Moya
Performed and exhibited at
Cruce Gallery, Madrid (2021)
La Panera Art Center, Lleida (2022)

Lithophones, Stones, Speakers, Sound, Coco Moya (2021)

Tenebrescencies, Drawings A4, Graphite and invisible ink,  Coco Moya (2021)

Not everything is connected to everything, but everything something is connected to something. Copper wire, ceramic, tin, arduino, speakers, sound. Coco Moya. (2021-22)

Soroll. Drawing on wall, ceramics, speakers, audio. Coco Moya, (2021)
The water meditation. (For Menhir) Ceramic and salt. 20x20cm, Coco Moya, 2019-2020

Salt clock. Installation. Salt and stethoscope, Coco moya (2021) 

Geomantic pendulum. Installation, Ceramic, glass, meteorite, magnet, resine, quartz,  aluminium. 40x40x50cm. Coco Moya (2020-21)

Self ASMR. Set space for a self-ASMR (using a piece from a previous project “We do not even know if we exist”, made with Rafa SMP) Ceramic, Microphones, headphones, stones. Variable sizes. Coco Moya and Rafa SMP. (2020-21)
Ceramic. Various Sizes. Coco Moya (2021) 

Video of the exhibition 

Magic by Contagion -speculative listening and geological imagination-,  is an exhibition about the resonances  between indigenous thought, -popular, pagan, and ancestral practices of relationship with matter/spirit- and technological culture, when it comes to making sense, forming knowledge, and navigating the world.
Is about how sound and musical strategies are put into play again and again, before and now, when it comes to establishing a dialogue and a relationship with our environment, and with our intern. How technology, culture, nature and the material are related within the landscape from the metaphor of sound and tactile?

The territory, traversed by telluric energies, and inhabited by cyborg amalgams, forms a polyphonic writing that can be interpreted, through rhythms and melismas that touch the places and put them in contact. Post-internet networked culture re-emerges the idea of magical thinking where all beings, living, non-living, near-living, human, non-human, and more than human, are intertwined in "alien kin."
The minerals in my body also live in my phone and in the mines.

Listening and sound imagination become a geological thought and imagination, which navigates and crosses the strata of all these stories in metaphors and musical metonymies, the basis for a sympathetic, empathetic or contagious magic. In this game of reflections and reverberations, the environment is also our interior, in a mirror game with the landscape.

The works shown, almost all with a tactile or interactive component, invite the listener to experience and experiment, and make up an archive of plastic and sound essays that arise, on the one hand, from my doctoral research entitled "De techno- sound geomancy, the landscape as a score”, where I investigate the interpretation of the territory from intuition and what I call speculative listening. On the other hand, these pieces also arise from work in the Menhir collective, together with the musician Iván Cebrián, and in other experiences with Rafa Sánchez Mateos-Paniagua, María Collado, or Vanesa Bejarano. All networks that also make up a creative space permeable to contagion.

In the works, a way of knowing from the body is manifested above all, which must move, act, and investigate things with the palms of its hands and its palpitations, in an aesthetic proprioception. If listening is a form of contact at a distance, as Murray Schafer would say, it would be about making that contact more intimate, perceiving the sound going through the materials to our skin and our bones.

The sound happens, (from ad-proximity and contingere: touch), in that event, we put ourselves in closeness and contact with everything that in turn listens to us. And in that capacity of the metaphorical imagination to transport ourselves, we discover ourselves on a journey towards microcosmic scales, as Caillois would say about his stones.

Topocosmos that enable us to listen speculatively to the landscape, an interpretive reading of the genius loci that opens up new unpredictable sound territories. An attention to materials and to matter as a medium in itself, as a means of transmitting energy and memory. Common stones and ordinary materials, which activate their metallic, ceramic, resinous or saline flows, through sound.