Living Sources (Fonts Vives)

Sound Art
Runtime: 32’ (Loop)
Language: Spanish / Catalan
Original format: Surround 5.1
Display format: Surround 5.1
Production: Eva Lootz © 2019 Spain

Eva Lootz Benito Macías teorema films

Directed by: Eva Lootz
Sound design: Benito Macías
5.1 sound mixes: Benito Macías – Teorema Films

Eva Lootz Benito Macías teorema films

Fonts Vives is an installation that collects the names of the most important torrents on the island of Mallorca in the form of luminous writing inside a cooler and also incorporates a sound recording and performative elements. In the recording, the voices reproduce headlines related to the problem of water that are opposed to timeless phrases about this vital element. The work reflects the aftermath of technology, the overcrowding of tourism, the growing scarcity of water and the progressive pollution of aquifers.

The sound piece that floods the installation is created as a result of the collaboration between the artist Eva Lootz and Benito Macías and is designed to reproduce it in the Church of the Convent of Santo Domingo, Pollença, a monumental ensemble that belongs to the Museum of Pollença, on the occasion of the exhibition entitled Fonts Vives by Eva Lootz, curated by Piedad Solanas.

The piece is currently in the collections of the Museo de Pollença.

Eva Lootz Benito Macías teorema films

Biography of the artist

Eva Lootz was born in Vienna (Austria), where she studied Philosophy and Fine Arts and graduated in Film and Television Management. At the end of the sixties he moved to Spain and from 1973 began his exhibition activity.

Starting from anti-expressive and procedural approaches, tending to an extension of the concept of art, it evolves towards the creation of intersensory and enveloping spaces or, in terms of the author, towards a ‘continuous art’. His work, in which there is a marked interest in the interaction of matter and language, is characterized from the beginning by the use of heterogeneous registers.

His exhibitions include: Metal (Madrid 1983); Night, they said (La Caixa Foundation, Barcelona 1987); Written Carpet (Amsterdam 1990); Arenas giróvagas (Tarragona 1991); A Farewell to Isaac Newton (South London Gallery, London 1994); The mother is agitated (Valencia 1997); Eva Lootz (Boras 1997, Lund 1998 Sweden, Odense Denmark 1998; Ich und Du (Cologne 2000); Derivas (Porto 2001); Berggasse 19 (Madrid 2001); La lengua de los pájaros (Palacio de Cristal del Retiro, MNCARS, Madrid 2002); Sedimentations (Fundació Sa Nostra Palma, Ibiza, Maó 2004); Paisajes hidráulicos (Santiago de Compostela 2007); Hidráulica 2 (San Sebastián 2008); Hidrotopías – escritura del agua (Fundación Suñol, Barcelona 2009); Viajes de agua ( Casa Encendida, Madrid 2009); To the left of the father (Real Casa de la Moneda Foundation, Madrid 2010/2011); Drawing as Thought (Skissernas Museum Lund, Sweden 2011/2012); Knots (Círculo de Bellas Artes, Madrid 2012) ; La canción de la tierra (Tabacalera, Madrid 2016; Cut Through the Fog (CGAC Santiago de Compostela, 2016/17); Binomio, Arte y Ciencia (CNIO, Madrid 2017) and El reverso de los monumentos y la agonia de las lenguas (Patio Herreriano Museum and National Museum of Sculpture of Valladolid, 2020)

He has carried out permanent interventions in the public space, such as NO-MA-DE-JA –DO, in the Cartuja Island, on the occasion of Expo 92; Lineo’s hand in Bohuslän (Sweden 1996); Endless Flow (Silkeborg, Denmark 2002), as well as ephemeral interventions: Recoletos Project (Christmas Lighting of the Paseo de Recoletos, Madrid 2004); Luna Ciega, within the initiative of El Corte Inglés Around the transparent (El Corte Inglés, Calle Serrano, Madrid 2008). As part of Expo’08, he has built La oreja parlante, a piece located on the right bank of the river Ebro (Zaragoza 2008).

He was a professor at the Faculty of Fine Arts in Cuenca for the first eight years after its foundation and has taught courses and lectures at BB AA Faculties in Spain, Sweden, USA. and Chile; at the Thyssen Bornemisza Museum (January 2006); in the summer courses of the Universidad Rey Juan Carlos (July 2008) and in the Museo del Prado (June 2009).

He has published the following books: The visible is an unstable metal (Ardora Ediciones, 2007), The night I saw a blue that was red (Universidad de León 2008), Negative sculpture (Fundación Arte y Mecenazgo, 2014), Las Imparables Two walls and 1 bridge, 2015) and Having the sugar under lock and key (Ediciones Asimétricas, 2018).

She won the National Prize for Fine Arts in 1994, the Tomás Francisco Prieto of the Real Casa de la Moneda Foundation in 2009, the MAV (Women in the Visual Arts) Prize in 2010, the Prize of the Art and Patronage Foundation in 2013 and the Baron de Forna Prize 2103 of the RABASF.

 

 

Biography of the sound artist

Benito Macías (Oviedo, 1985) is a filmmaker and anthropologist who works with cinematographic language from the sociological imagination. As a professional he has collaborated for more than 15 years on different projects with filmmakers and artists, mainly as a producer, editor, sound designer and distributor. In 2014 he founded Teorema Films, a film production and distribution company dedicated to auteur cinema. His projects are in permanent dialogue with different contexts and disciplines where the base of experimentation and ethnography reformulate different forms of work.

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