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I will be in Kansas City, MO, this Saturday, November 23rd, presenting a new version of the installation and performance “Esponjas/Espumas” alongside amazing artists in the context of Temporal.

Temporal explores notions of archiving and archives by emphasizing the fluidity and performativity of records. In this context, artists create existing and alternative histories and futures, using their bodies and movements as living documents that reflect personal and collective narratives. Through performance, these artists engage with the idea of memory, collecting, and presentation of data as a dynamic process, attempting to encourage audiences to witness the reimagining of past experiences and the potential for new interpretations.

Featuring Artists; 𝘒𝘺𝘳𝘪𝘢𝘬𝘰𝘴 𝘈𝘱𝘰𝘴𝘵𝘰𝘭𝘪𝘥𝘪𝘴, 𝘊𝘢𝘮𝘪𝘭𝘭𝘦 𝘊𝘢𝘴𝘦𝘮𝘪𝘦𝘳, 𝘚𝘦𝘭𝘦𝘯𝘢 𝘒𝘦𝘢𝘳𝘯𝘦𝘺, 𝘔𝘢𝘶𝘳𝘪𝘤𝘪𝘰 𝘓ó𝘱𝘦𝘻 𝘍., 𝘏𝘦𝘴𝘢𝘮 𝘚𝘢𝘭𝘦𝘩𝘣𝘦𝘪𝘨, 𝘔𝘢𝘺𝘢 𝘕𝘨𝘶𝘺𝘦𝘯, 𝘚𝘵𝘦𝘱𝘩 𝘗𝘢𝘵𝘴𝘶𝘭𝘢, 𝘦𝘳ψ𝘯 𝘵𝘦𝘮𝘱3𝘴𝘵, 𝘕𝘪𝘬𝘬𝘪 𝘛𝘦𝘭𝘦𝘨𝘢𝘯 & 𝘌𝘮𝘦𝘳𝘴𝘰𝘯 𝘎𝘳𝘢𝘯𝘪𝘭𝘭𝘰

Guest Curated by: 𝘚𝘵𝘦𝘱𝘩 𝘗𝘢𝘵𝘴𝘶𝘭𝘢

“60625”
Size: 24″x24″x75.5”
Duration: 12 min.
Materials: Card catalog drawers, steel pipes, metal sheet, stool, amplification system, speakers, mono audio tracks.

Soon after our arrival from Santiago de Chile to Chicago, USA, we were struck by the sounds of one of the two apartments that accepted our papers. Everything in it creaked; sounds traveled and filtered through the enclosure, giving us intimate information about our neighbors, whether we wanted it or not. Our behavior was influenced by the space, leading to various interactions, both rhythmic and narrative. Although we live in the same structure and share the same walls, our stories are unique, and how we catalogue our lives are different.

This piece depict the moments after being unjustly struck by something: a knife, a tooth, or an insult. All of this spills onto a piano that “plays by itself,” seeming to struggle for autonomy, when in reality, it’s being more controlled than ever. For that, I used a mixed technique of sending and returning MIDI signals, blending organic ideas played on the piano and then digitized, in contrast with completely quantized elements coming from the MIDI to the instrument.

This concert was curated by Sam Anthem and hosted by The School of the Arts Institute of Chicago and Experimental Sound Studio.

This piece was born as an attempt to materialize a situation we witnessed on a bus in Chicago. In this context, the clash of different languages and the confusion of translation gave rise to an uncomfortable yet flavorful scene. The initial sketches took the form of precarious notes to capture what was observed, then it was translated into sound. To achieve this, I used a percussive treatment of the guitar based on the resonance of its open strings. I altered these by creating two groups of tunings (each consisting of 3 consecutive strings) in such a way that these would vibrate according to the part of the body that has been hit.

On the other hand, the recited voice plays a game of question and answer with an automated translation. This robotic attempt aims to exemplify everything that is lost when translating ideas from the native language to acquired ones. The graphic score arises as a result of some guiding drawings I made during the composition process, and with the idea of not wasting any material, it seemed like a good opportunity to open up its interpretation.

Thanks to my friend Sarah Lutkenhaus, who not only helped me with the best strategies for illustrating my ideas but also with the layout of the score.

I don’t consider my version to be definitive one, and I believe I am still working on expressing these discomforts in a sonic form. It’s a first attempt.

Live at High Concept Labs in the context of Waveforms 2023 (SAIC 2023):

Graphic score for download:

This was a very fun project to work on, 20 episodes, 5 minutes each. They asked me to use mainly chiptunes sounds, so it was a great opportunity to let my video games addiction shine in a productive way. Also, it was a great chance to study more about timbre modification in the context of arrangement, and the reinterpretation of musical instruments -and their functionality- with a limited set of tools.

Thanks to this wonderful team for thinking that my music could fit in this project.

You can watch “La Historia de Chile, Según Berni” (The History of Chile, according to Berni) here.

Lerdo‘s fifth studio album LA MÁXIMA available everywhere this April 14. You can now pre-order the limited edition vinyl (150 copies) through Kali Yuga Distro label website: https://disqueriakyd.cl/producto/lerdo-la-maxima-ed-limitada-vinilo-simple/

Watch the full unboxing video here:

it’s been such a long time…

ANDER is a multidisciplinary showcase designed by José Délano and curated by Juan José Santos that portrays two emblematic spaces of the Chilean underground culture of the eighties. These places were key to artistic and recreational development in times of dictatorship. This exhibition was praised by critics on the Artforum.com site and on prominent chilean platforms such as Artishockrevista.com.
In this project I was in charge of the implementation of sound and image. Due to the hybrid nature of the exhibition, we had to use different devices to achieve the expected result. There are a total of 25 raspberry pi that are connected to projectors, CRT TVs and LCD screens. For the sound, we use headphones and build 6 custom-made directional speakers that hang from the ceiling. This allowed us to generate different acoustic atmospheres, reminiscent of the ambient sounds of the bohemian spaces of that time.

This Sunday, January 8, will be the last day to enjoy the exhibition ANDER: resistencia cultural en el Trolley y Matucana 19 at the National Museum of Fine Arts.

For more information please visit: https://www.anderexpo.cl

The live presentation of “El himno universal de los perros” is now available. This piece was composed for the 24th anniversary of the Productora Mutante (Santiago, Chile) that was broadcast on the platforms of Experimental Sound Estudio (Chicago, USA).

Modified monochord, contact microphones and effect pedals. I recommend listening to it with headphones.

“Una noche estrellada” is Lerdo‘s first music video in the context of the upcoming album LA MÁXIMA (2023). You can also enjoy three new songs on our Spotify (and other platforms).

In this post I want to share certain intestinal details from the nerdy look of production-composition or whatever you want to call it. This is going to be a bit long, bear with me and fasten your seatbelts *sound of keys and engine starting:

If you made it this far, I love you. If you have questions or want to collaborate with me, let’s talk about everything.
You can listen and see De 0 a 100 here https://linktr.ee/elprimerextranjero