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Sound Installation: Open Music Archive

Luis Barragán

Luis Barragán

Luis Barragán

Luis Barragán

Luis Barragán
Luis Barragán

Luis Barragán

Open Music Archive: Biblioteca, Tapanco, Recámara

11 April - 15 June 2014

Margaret Powell Square
Broadcast (looped) throughout Gallery opening hours 

 

 

Biblioteca, Tapanco, Recámara is a new sound installation that takes music ripped from Luis Barragán's vinyl collection, recorded in three different rooms in Barragán's house, and presents them as an archival audio stream outside MK Gallery.

 

The work appropriates the tactics of Mexico City's ambulantes – travelling music vendors who ride the city's Metro system selling pirate CDs while broadcasting chopped-up preview snippets of their catalogue from hacked backpack sound systems. The audio installation features out-of-copyright snippets, loops and fragments of transfers from Barragán's vinyl collection – echoing elements of the soundtrack for the artists’ film Open House | Divided Estates and previewing elements to be used in the Barragán Sound System event.

 

Source material is distributed for free public download via Open Music Archive website www.openmusicarchive.org/barraganbtr

 

 

 

 

Background

 

A new iteration of a project initiated during a de_sitio residency at Casa Luis Barragán in Mexico City in 2012, this new work by artists Eileen Simpson and Ben White (Open Music Archive) is developed for the context of MK Gallery and explores a conflict that exists between the personal archive of Mexican architect Luis Barragán (1902-1988) and his professional estate.

 

Upon his death, the split of Barragán's personal possessions and professional estate resulted in his former house and personal archive being donated to the public and his professional archivesand copyrights remaining under proprietary ownership. Barragán's professional archives and copyrights are now controlled by a private entity based in Switzerland operated by Vitra.

 

The project uses Barragán's former house and his personal archive as a vehicle for an exploration of the tension between the personal and the professional, the public and the private, the common and the proprietary. These conflicts haunt all archive collections and appear unmistakably when the interests of the public clash with those of the owners of intellectual property.