TALK

Today

YLVA BENTANCOR

LJUDKONST/MUSIK

22th of November 2018: The very first talk. It's November 2018. Earlier today I watched a video where the waves ruined the lowest balconies on a hotel not only close, but almost in the sea at the cost of Tenerife, Canarias. The waves, six meters high, within seconds manage to blow the balconies away, hopefully without someone standing on one of them.

I watch this, and the feeling of frustration grow inside, it's so stupid, so... stupid. This video shows the worst side of humanity, the greed, the short-minded way of thinking. Tourist’s want to live by the sea, so I build a hotel in the sea, I will earn a lot of money. Sounds easy, but...

 

I mention this, because these situations, these happenings are the main cause in my brain and in my music/sound art. It's either with a bit of hope, or it’s the sense of hopelessness. One day hope, the other fear, like in my work World disorder. Hope, fear... hope... fear... In the preparation of the exhibition Radiophonic Spaces that right now has it’s tour through museums in Germany, and where World disorder are one contribution of sound art through the last hundred years (it's as young as that) I had the opportunity to write about the work. It was liberating to have this opportunity to do that, sincerely, to put words on why and how I did this piece. Today I will let you read about WD, if you like, and then end this first talk on my home page. I very much hope to see you back here!

 

Ylva 2018-11-22

 

World disorder?

When I’m in December 2016 got the commission from documenta 14 for a 60 minutes piece that should be delivered in mars 2017 it was both a feeling of impossibility and an opportunity to do something that was only my own decision. The theme was open, so I decided to base the work mostly on material I collected during the years and that it would be a piece about the world in my opinion.

 

The title is very important, and I struggled with this during the progress. I had ideas, all around disorder in some way, a will to tell what everything I do with sound art wants to say; this world is stupid, it wants us to be stupid, and we will destroy it while trying to follow stupid peoples will. And at the same time I wanted it to be beautiful, as it also can be.

World disorder is like an act of balance between game and seriousness. It’s either me or someone else who plays games with serious questions. It’s me playing games with the sounds of a city before and when something is happening, when seriousness is entering the normal everyday life. Its Isidor, a ten-year-old kid, that picks up the sounds of war and turn it into a game he is playing by him self while the thunder and rain is poring down outside the house.

It’s the grasshoppers from Iraq, Uruguay, Sweden, Spain and other places and the small animals around the world that are doing what they do while a Donald-type is undermining the importance of the climate changes.

And it’s Siri, the voice of Mac and myself who repeats and repeats what he says over and over again while among others a fantastic bird in a forest in Australia try to tell another story.

 

It is Gambolt, a Mongolian boy, and son of a shepherd in the Gobi desert who is communicating with me about something I still don’t know what it was about. He says something, I repeat; he says something more, I respond. And Siri joins in, social media joins in, my friend Johan joins in screaming: ”Hope? Fear? Hope?” More joins… Then the donkey Tula interrupts everything, screaming the donkey-type of scream. Google translate joins in, repeating the words in every possible language: Donkey, åsna, æsel, burro…

The donkey replaces with horses, they are faster, easier to handle. The horses replaces with motors, cars, it goes even faster… the sound of cars driving on the highway sounds more or less like the sound of the oceans. My friend Anna lived in a wonderful house near the highway. She told me that it was okay because she was pretending that it was the sound of the ocean she heard every morning while walking to the underground to go to work.

People ride their cars here and there, faster and faster, while listening to radio. Voices of journalists, politicians, so many that wants to tell you how to think. The voices gets overwhelming, they are drowning each other. We hear them like we were hanging somewhere in universe, trying to tune in an interesting channel.

Johan comes back, the sea is stormy, he shout the Donald-type of ideas out in to the air, the question of hope and fear is still relevant, but the ocean will not listen, it has it’s own progress, getting more and more stormy, and powerful. In the end Johan’s voice cannot be heard, even though he continues, and continues, and continues… he will never give up. I’m with the sea; my support goes to the sea. What ever happens.

 

And to all these ideas there is music, and the music is my language. I try to pick up tones, ambient and make the sounds more musically. I put rhythm into it, pulse and musical form. Many sounds from reality contains tones, you just have to catch them. It could be devastating to put the wrong note or chord into a soundscape.

 

 

That´s the story of World disorder, how it developed in my head. It’s hopefully not necessary to tell this to a potential listener, because I believe that people probably will experience World disorder in different ways, but it’s nice to be able to tell why it was put together according to me.