Claudia González Godoy
Hidroscopia / Mapocho
2016
Hydroscopia / Mapocho is a work that analyzes the visible and invisible aspects of the Mapocho River and the natural and artificial processes that have fragmented and transformed its course. After collecting water samples in different places of the river, Claudia Godoy documents her research with photos, videos and sound recordings. The final work is a circuit consisting of wooden structures and electronic circuit boards on which fall drops from the Mapocho River: the flow of water becomes then the sound of time’s flow. The sound installation returns a dynamic image of the Mapocho, which changes in relation to the places it crosses. At the same time, the rhythm and frequency of the drops are influenced by the physical variables of the environment in which the circuit is located. Claudia Godoy's work is a "hydrosonorization" of an element of the Chilean landscape, built on her audible face and inaccessible to other senses.

Fernando Godoy
Atacama 22º 54' 24" S, 68º 12' 25"W
2013
This sound installation is the result of an analysis and research work carried out by Fernando Godoy within the confined areas of the Atacama Desert. During the trip to this region, joined by Austrian sound artist Peter Kutin in 2012, the author experiences through listening to a number of abandoned places: a salt mine, train rails, buildings and villages belonged to the past and now part of a new landscape. The recording of natural phenomena, such as the sound of wind, sand and electromagnetic radiations, during this crossing, represents a collection of acoustic fragments collected in a space that becomes a place of tension between past and present, natural and artificial, human and post-human.

Sebastián Jatz Rawicz
Conferencia de Pájaros Cantores
2017
“Conferencia de Pájaros Cantores” is a work carried out at Casa Poli (Coliumo, Chile) in the summer of 2016, where he was the artist-in-residence, and inspired by the principles of the Aeolian harp, a musical instrument whose strings are made to vibrate by the wind. At the center of the author's work there’s s the work of Chilean poetess and songwriter Violeta Parra (1917-1967), reinterpreted with sounds collected within some landscapes of Chilean territory. The artist remodeled the original project by working with children, "the ideal associates for the production of experimental music, because of their open attitude and no preconceptions about sound." The result is an original sound experience, built in an immersive, deep, and deeply ingrained dimension within the landscape.

Rainer Krause
Lenguas locales
2014
Three loudspeakers and the voice of Cristina Calderòn, the last woman to speak the Yaghan language, an indigenous population who lived along the southern coast of Chile and decimated by the European colonization of the nineteenth and twentieth centuries. Rainer Krause investigates, through the sound of her voice, the connections between man and his territory, so strong and so delicate at the same time. Compared to the original version of the work, presented at the Venice Biennale in 2015, the author has ‘increased’ the sound space of the installation by inserting a series of recordings made in places related to the history of the Yaghan people, allowing them to reverberate with more strength the landscape not only as a geographical space, but also as a historical, cultural and aesthetic environment.

Alejandra Perez Nuñez
Antartica 1961-1996
2009-2017
A square canvas made of cables and a loudspeaker suspended from above: the viewer approaches the work and one of the sound levels changes. Antarctic 1961-1996 is an interactive work created thanks to the potential of open software. It is a sound map of the Antarctic Peninsula, a territory that hosted military and nuclear activities until 1996. Compared to the first version, dated 2009, the work is enhanced by a series of low-frequency sound recordings, with the aim to infiltrate the landscape through the listening and the invisible. Interrogating the concepts of sublime and imperceptible, Alejandra Perez Nuñez strays into territories that transcend the possibility of understanding and assuming a 'division' of knowledge by investigating the invisible traces of military operations and of sedimented technological accidents, such as radioactive isotopes in Antarctic ecosystems.