ARQUITECTURA ⇔ MÚSICA   MATERIA ⇔ VACÍO   CUERPO ⇔ ENERGÍA   LO FÍSICO ⇔ LA FRECUENCIA RECEPTOR/ TRANSMISOR ⇔ SEÑAL    SENTIMIENTOS ⇔ PENSAMIENTOS   INSPIRACIÓN ⇔ IMAGINACIÓN   DIE ARCHITEKTUR IST FÜR DIE MUSIK,   WIE DIE MATERIE FÜR DIE LEERE,  WIE DER KÖRPER FÜR DIE ENERGIE,  WIE DAS PHYSISCHE FÜR DIE FREQUENZ,   WIE EIN EMPFÄNGER/SENDER FÜR DAS SIGNAL,  WIE DIE GEFÜHLE FÜR DIE GEDANKEN,  WIE DIE  INSPIRATION FÜR DIE VORSTELLUNGSKRAFT      ARCHITECTURE = MUSIC    MATTER = VOID    BODY = ENERGY      PHYSICAL =FREQUENCY RECEIVER/TRANSMITTER = SIGNAL     FEELINGS =THOUGHTS    INSPIRATION = IMAGINATION  

CEC
ILI
APA
ZNE
RCA
SSE
AUG
IBS
ON
2023
2022
06-11_Outer Membrane that blows at Me 08_Ingredients to Nourish the Membrane of the Present 06_Dreaming LAB
05_CTM Festival Hacklab Contact
04_Fuga Substance 03_Copula Series. Silent Soundscapes
2021
10-12_Silence Accoustic Research
09_Scales LAB Slow Playground 
07_Silence SSI
2020
08_Silence MA
08_Silence Book
05_Aus Meinem Balkon  
2019
08_Bannana No!
02_Kopf-Wahrnehmungs-Verstärker
2018
08_Simultaneously Parallel, ASD
2017
08_Hyperbole Station
2016
08_Fonotropicos
2015
07_Sonar Fossil
08_Albedo
2014
05_Cabezas
01_Fonopticos
2013
08_ Crisálida Resonante
09_ Teletransportador
10_Vitrola Baquedano
2012
11_Telefonoskopio

collaboration long term projects
LAB . ZOOZ . BADECIMA

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©2023 Cecilia Nercasseau Gibson


V I T R O L A   B A Q U E D A N O 


This intervention consists of highlighting parts or situations that make up the urban scene, the narrative of the city, through the amplification of these sounds. Expanding these specific but fundamental situations such as, for example, live music, to highlight it, make it the protagonist of everything that happens in the city, share it, expand it, direct it towards more spaces, and thus more people.
In this way, walking around the city and observing the architecture and the situations, I came across a great group of clasical musicians, playing in the underground exit of the Baquedano metro, where that round square with the tree is, on the south side. They played downstairs, but curiously, upwards in the larger square (where the U. Chile theatre is), you can't hear anything. I approached, because I saw people looking down, looking at something, and then I could hear and realise the music. So I kept that these situations are what enrich a city, they give it a narrative and break away from the everyday, and therefore with the everyday, so how to enlarge them, broaden them, spread them, share them.
That's when it occurred to me to expand their sound in a mechanical way, directing it from the underground square towards the main square that is at street level, thinking of it as if the square itself on the ground floor were a vinyl or record player and the only thing missing was the amplification horn; Vitrola Baquedano. 


Plan of the sculpture, showing the two levels: downstairs where the musicians play and upstairs where the people pass by.