Canto Llano – este
Pujato, Argentina (2018)
First seeded guitar, facing east. It was presented at the First Confluence meeting organized by the Outdoors Project. Distrito Pujato, Depto. de San Lorenzo, Prov. de Santa Fe, Argentina (2018).
Friday, October 12, 2018.
To Gustavo Frittegotto
Sobre el proyecto
Canto Llano is a ceremonial-sound action installed on the earth’s crust. It consists of planting a tree inside the mouth of a buried guitar. The sound installation begins with a ritual action that initiates the cycle of tree growth and guitar decomposition.
A guitar is the culmination of a handcrafted design carried out for centuries by different artisans and sound artists. It is a developing knowledge originating from a tree and its material, wood. Canto Llano presents the link between the beginning of this process and its culmination, as well as offering a poetic alliance between the development of biology and the growth in time of a work of art.
Then:
What can we learn from sound if we move a little beyond aesthetics and acoustics? What can listening teach us when we try to hear the great cycles of heaven, of the cosmos that saw us born, will see us die, and that will surely die too? What lessons does matter teach us with its rhythms, its frailties, its hardness, its ancient and future laws? Canto Llano is an open-air sound installation that feeds on these questions, on that beyond the sounds that occurs when we remain still and silent in the face of simplicity that nevertheless summons us. This installation, together with the accompanying ceremony, finally seeks the close: to remind us of our relative position in the changing universe.
The second guitar, facing south, was seeded in the city of Nesodden, Norway, on June 5, 2018.
The third guitar, facing west, was planted in the city of Lausanne arrêt Blécherette, Switzerland, on August 10.
The fourth guitar, facing north, was planted in Acantilados, Argentina, on April 18, 2021.
(…)
Canto Llano est une installation fondée matériellement et symboliquement sur trois aspects: a) le territoire en tant qu’immense espace soumis au mouvements du cosmos, b) la relation entre la matière vivante et non-vivante observée à travers la croissance d’un arbre et la destruction d’un instrument au sein d’un espace qui réunit leurs différences, et c) le rituel qui à la fois initie et confie le processus de transformation au soin de la communauté, qui verra sa propre transformation se refléter dans cet espace ainsi transmis.
Materials
Guitar, stones, earth and oak.
Photos
Gustavo Frittegotto and Martín Virgili
