Cristóbal García Belmont

Espirales dentro de Espirales(2024)

Medium Radio, improvisation, sound performance
Materials
Polaroids, Cassettes, Tape Recorder, Feedback loops, electronics

Dimensions 
Variable

Description
Espirales dentro de Espirales es un programa materializa circuitos poéticos migratorios de artistas independientes trabajando con diferentes medios sonoros (música vanguardista, improvisación, poesía, folclore, cine, etc).
Estos circuitos son mezclados a través de una grabadora Tascam 414 en conjunto de una improvisación sonora con técnica de no-input mixing grabada en tiempo real por el anfitrión.

Spirals within Spirals is a program that materializes the poetic migratory circuits of artists working with different time-based media and sound forms ( like avant-garde music, improvisation, poetry, folklore, cinema, etc.). These circuits are mixed through a Tascam 414 recorder and a live improvisation using the no-input mixing technique recorded in real-time by the host.

Anfisbena (Póstuma) (2024)

Medium:
Sound performance, multichannel video, poetry

Materials
Steel, citric acid, cloth, poems, prepared amplifier, electronics

Dimensions
Variable

Description Anfisbena (Póstuma) is the third iteration of a series by Peruvian sound artist Cristóbal García Belmont. In this version, the artist engages in the process of de-aestheticization of the sculptural series through two performances.

The first performance occurred at the Distillery Gallery in Boston in 2023, where the artist erased all material traces of the sculptural instruments titled Anfisbena after months of reverberation, public interaction, and performances. This erasure of visual traces mirrors the sonic reverberations that had long since left the material.

The second performance was held at Ginsberg + Tzu in Madrid in 2024 and involved a 3-channel video created from the first performance. The artist played back looping sections of a poem, recalling the material and sonic traces lost in the first performance and attempting to re-enact them. He did this by generating intricate feedback loops through a prepared guitar amplifier while a sound-reactive video – live-processed and overloaded – accentuated the visual remnants of the first performance through image saturation.

The work explores themes of duration, disappearance, and transformation within the artistic process.

Piece for Cinematic Instruments & Feedback Loops #1 (2023)

Medium
Non-medium cinema, sound performance 

Materials
Paper, plastic straws, electronics, magnifying glasses, light, microphone, tape, amplifier

Dimensions 
Variable

Collaborators
Faruk Šavanović: cinematic instruments
Cristóbal García Belmont: tape machine, microphone, electronics


Description
Piece for Cinematic Instruments & Feedback Loops #1 is the first part of an ongoing dialogue between Bosnian artist Faruk Šavanović and Peruvian artist Cristóbal García Belmont. These pieces explore ways to challenge the distribution of time-based mediums, such as cinema, sound, and music.
Through the chaotic casting of shadows by Šavanović's cinematic instruments and García Belmont’s imitation of movement with a microphone in an amplified room, the artists aim to create a non-medium, non-distributable, unreproducible cinema. The piece is heavily inspired by the principles of animation that strive to imitate life, as well as sound reproduction principles by which the machine mimics organic functions until its eventual degradation. The performers engage in intricate feedback loops, generating unreproducible noise using shadows, microphones, amplifiers, and magnetic tapes.
The first iteration of the piece premiered during the 2023 lecture series at the Academy of Fine Arts, Music, Film, and Theatre of the University of Sarajevo.

Los Bigotes del Diablo Están Hechos del Pelo de los Condenados (2023)

Medium
Sculpture, sound performance, poetry

Materials
Prepared door, microphones, Electronics, amplifier, descriptions

Dimensions 
Variable

Collaborators
Emiliano López: door
Cristóbal García Belmont: electronics
José Emilio Hernández Mártín: descriptions

Description
los bigotes del diablo están hechos del pelo de los condenados/ the devils bigote is made with the damned hair.

By Pezlo Serey Álavro

Decidimos hacer máscaras, todos hicimos una con caras de animales, carolina hizo una con cara de diablo y para ponerle su bigote se cortó dos mechones largos de cabello. Al final de la fiesta, Carolina dijo que/ decided to make masks, we all made one with animal faces, Carolina made one with a devil face and to put her mustache on it she cut two long strands of her hair. At the end of the party, Carolina said she

Anfisbenas (2023)

Medium Drawing, sound, sculpture, installation, and performance
Materials Poems on steel, wax, speakers, amplifiers, and microphone

Dimensions9 feet x gauge 11 x 8 ft

DescriptionAnfisbenas is an 8-channel performance piece which consists of interacting through feedback with two large scale resonating idiophonic surfaces.

The performance reveals resonant points within the installation by feedbacking a signal from a microphone held by the performer into the metal structure. The performance piece is inspired by improvisation techniques with fixed media. A third sound source is located nearby which is reciting 100 haikus written in another durational performance relating to translating forms into different languages and their effects on the form’s structure. As the performance goes on the performer starts having a symbiotic relation with the plates through resonation, sharing a same body. Lastly the poems are also feedback to the circuit ending up the connection between sonic feedback
and poetry, the performer leaves the stage, and the 100 haikus keep feeding back into the work as an installation.