12, 13 and 14 December 2014

A new edition of our audio festival is getting ready for this year, seeking to consolidate Espacio Tangente and this annual meeting with experimental music and sound.
In our three previous editions – Free Improvisation, Electroacoustic and Voice, 23 proposals by soloists, groups and fine artists from 10 different countries, were enjoyed by a growing audience, reaching more than 200 people in each edition.

Along with our annual programming of experimental music concerts, this festival becomes a meeting point of the most avant-garde sound territories ever in Burgos and very scarce in the North of Spain.

Thus, FAT's aim to show the strength, creativity and personality of each individual voice becomes established with a great line-up of local, national and international artists, always striving to enrich Burgos' cultural scene.

2014 Edition: Noise
"More than colours and forms”, has written French Economist, Politician and Writer Jacques Attali, “sounds and their arrangements are the ones that built a society. With noise, disorder is born and its opposite: the world. With music, power is born and its opposite: subversion. In the noise we can read life's codes, the relationships among human beings. Clamour, Melody, Dissonance, Harmony, when it's built by humans with specific tools, when it invades the humans' time, when it becomes sound, noise is the source of purpose and power, of the dream –music”.
Noise, the Political Economy of Music (1985).

This fourth FAT edition, invites musicians and audience to reflect on noise, on its aesthetics and timbre features, its personal, social and political connotations, with the same strong emphasis on experimental music as always.

The festival includes 7 sound sessions, a workshop and a sound installation.


21.30 h
Season ticket: 20€

(sEXUS 3)
by Quimera Rosa

Cyborg post-porno - BDSM body noise - Gender hacking

With a nod to The Pianist by Elfriede Jelinek, this performance revisits Blade Runner 's universe in a post-porno version. Here replicants have definitively left humanity... Mixing cyberpunk surrealis scenes with non-conventional sexual practices, The sEXUS 3 transform their bodies into sex-sounding tools through electronic prosthesis connected to flesh with BDSM techniques. All of the sound in this piece is live-generated through the contact of the bodies. Quimera Rosa condensates here its six years of electro-chemical experiments before leaving Barcelona. They invite you to see a new version, specially conceived for the Antic. Will you subject yourselves to their empathy test?

Photo: Elise Charbey


21.30 h
Season ticket: 20€

Presentation of "SOUNDS INTERSTICES", sound installation
by Elisa Mandiola




" They take the green nails , and what you know . They are, by far, the last female sophistication. In women new sophistication may always be expected.
Nails , according to anti-fashion , can be of all colors and shapes. Some women wear them as Hindus , long and curved priestesses , and other biting the lead because the rodent woman still takes a lot , thank God . And I say thank God because I like me the rodent woman, that woman tooth gnaws itself nails or pearls necklace . Now that gasoline goes up and up , only having to have gasoline green fingernails , and so are many female hands with green nail driving a Coupé.
The woman, in love, is armed to the nails, and his weapon is pintárselas green . Or red . "

Sábado 13 diciembre 2014

21.30 h
Season ticket: 20€



(New Zealand/France)
"Beautiful noise"

Domingo 14 diciembre 2014

19:30 h

MAYTE SANTAMARÍA (Burgos) will present an interactive collective work by using the live audience’s voices while recording them. She will later offer a listening of the final work.
GUERRRRA SSSIRIA is a massive destruction sound action able to transform the words that the media launch to us about war, generating a noise that distorts reality itself. Each FAT attendee will be given a warlike word – attack, contingency, chaos, killing… in order to destroy it by playing with the phonemes, onomatopoeias…

20.30 h
Season ticket: 20€



"The noise limits"



Sound Installation

Exhibition by Real Time – Sonema - Christine Renaudat
With the intervention by the visual artist LAURA ALBO (Burgos)

From 12 th December to 19 th December 2014 in SalaNegra
Monday-Friday: 18.30- 21.30 h

“Not a word, barely a whisper, barely a shiver, less than silence, less than the abyss of void. The fulfilment of void, something that cannot be silenced, occupying the whole space, the uninterrupted, the incessant, a shiver and immediately after, a whisper, not a whisper but a word, and not any word, but a different, an exact one, within my reach...”
Maurice Blanchot.

Participant composers:
Carmen González, Mexico - Diego Caicedo, Spain - Charles De Graaf, USA - Ricardo Arturo, Mexico- Leonardo Puentes, Colombia- Juan Manuel Mercado, Colombia- Julio Sanz Vázquez, Spain- Renzo Filinich, Pere/Chile - César Iván Juárez Joyner, Mexico - Sergio Andrés Santi, Argentina - Emmanuel Acosta Ramírez, Mexico - Lucas Bolaño, Spain - Mer Marin, Spain/Holland - Andrés Torres, Colombia/Germany - Donika Rudi, Kosovo - Jacky Schreiber, Venezuela - Ximena Alarcón, United Kingdom - Aldo Lombera, Mexico - Jaime Andrés Rodríguez Gómez, Colombia - Edgar Benitez, Colombia - Víctor Manuel Rivas-Dávalos, Mexico - Jorge Espinosa, Ecuador - José Luis Macas, Ecuador -Diana María Restrepo, Colombia/Germany - Time to Pay, Colombia - Julián Benavides, Colombia - Óscar Jiménez González, Mexico - Antonio Russek, Mexico

“Not a word, barely a whisper, barely a shiver, less than silence, less than the abyss of void. The fulfilment of void, something that cannot be silenced, occupying the whole space, the uninterrupted, the incessant, a shiver and immediately after, a whisper, not a whisper but a word, and not any word, but a different, a exact one, within my reach...”
Maurice Blanchot.
Within Sonema 3 festival's framework, celebrated in Colombia in November 2012, Colombian collectives Sonema and En Tiempo Real launched Sound Interstices, a call for the creation of sound miniatures from the selection of French journalist Christine Renaudat's sounds archive. The originality of this call was based on the nature of the sounds: they were testimonies of Colombian conflict, interviews with the victims and murderers and noises from the country, recorded on site between 2001 and 2012.

Sound Interstices was an invitation to think on the sound of violence – and implicitly the nonsense of war through art, a call to understand how memory discourses are constructed and what the role of sound is in their construction.

More than 80 artists from 16 different countries sent their compositions, reinterpreting Colombian violence noise in a free way. Their works accompanied Christine Renaudat's exhibition Memorial de Voces (Voices Memorial), throughout its tour in Colombia in 2013 and Latin America this year.
This sample is accompanied by two listening stations with some of the original archives used by the artists, which allows the audience to value its creative work and understand the documentary value of the original sounds.


Circuit-bending Workshop
By Juan Matos Capote

Circuit-bending is the term used to denominate the ensemble of creative modification practices (through short-circuits) of low voltage electronic devices (toys, effects pedals, etc.), with the aim of creating new musical instruments and sound generators.
The devices that are usually modified are recycled gadgets, found in the street or bought in second hand shops. After being transformed, such products wasted by society get a new life, different to the original one. These gadgets which originally were not associated to musical production turn out being used as instruments in certain contemporary experimental music expressions.
To participate in this workshop is not necessary to have electronic previous knowledge.




Quimera Rosa [Pink Chimera] is a lab that researchs and experiments on body, technology and identities. Our aim is to develop practices able to produce non-natural cyborg identities from a multidisciplinary perspective. We assume Donna Haraway’s notion of cyborg, that defines it as: “chimeras, theorized and fabricated hybrids of machine and organism.”
Aware by transtfeminist and postitdentitary discourses, we make bodies a platform for public intervention, breaking up limits between public and private. We understand sexuality as a technological and artistical creation and seek to experiment hybrid, flexible and changing identities able to blur frontriers betweeen natural and artificial, normal and abnormal, woman and man.
We are specially interested in the articulations between art, science and technology, and their function in the production of subjetitivities.
In our performances, you can see a hybridization body / machine / environment, hybridization obtained with the incorporation of electronic devices connected to the body by BDSM techniques and the use of the electrochemical properties of certain elements (water, quinine, salt …). Our work includes long periods of research / experimentation, generally during residences. This past year, our work as performers combine with an intense activity of dispensing workshops based on the [BodyNoise Amp]. This workshop is based on the construction of the device and a body prosthesis, and experimentation with synesthesia generated by the use of the device.
The most of our work is developed in a collaborative way, and always under DIY technologies and free culture paradigm.
Principle of pink panter/chimeras

"Mimicry is a very bad concept, since it relies on binary logic to describe phenomena of an entirely different nature. The crocodile does not reproduce a tree trunk, any more than the chameleon reproduces the colors of its surroundings. The Pink Panther imitates nothing, it reproduces nothing, it paints the world its color, pink on pink; this is its becoming-world, carried out in such a way that it becomes imperceptible itself, asignifying, makes its rupture, its own line of flight, follows its “aparallel evolution” through to the end. The wisdom of the plants: even when they have roots, there is always an outside where they form a rhizome with something else-with the wind, an animal, human beings (and there is also an aspect under which animals themselves form rhizomes, as do people, etc.).”

Principle of asignifying rupture. A Thousand Plateaus, Deleuze & Guattari.



Marco Colonna is a clarinetist, improviser and composer active during last twenty years in various part of the music enviroment: Folk, Contemporary Classical, Jazz, Electronics, Avantgarde.

He has played in Mexico, Malaysia, United States, Germany, Spain, Hungary, France and all over the Europe.Always interesting in the link by Social Enviroment and Artistic Proposal  
Usually works with Agusti Fernandez, Michele Rabbia, Ivano Nardi, Luigi Marino, Omar Tamez, Noise of Trouble, Acquaragia Drom , Antonello Salis,Gianni Lenoci.

Works for him were written by composer as Giorgio Colombo Taccani, Dan Di Maggio, Sofia Mikaelyan, Shigeru Kan-no.

He plays in theatre pieces , wrote music for documentary and cinema, and actually as a composer is working  UNITY band and MC3.
His solo performance is a deep travel inside the possibility of the clarinets.

Marco Colonna is one the best music creator of his generation 
(LUIGI ONORI- Il Manifesto)






Juan Matos Capote is a sound and visual artist, researcher and educator. A visual artist by training, he began to work in the nineties with perception and the senses, employing different strategies to counterpart ocularcentrism. He soon started to incorporate sound in his works by building his own electronic sound devices. He applies circuit bending and more orthodox techniques to build oscillators and to modify radios and other electronic devices, which he often connects in different configurations to create new systems of expression. Most of his systems are characterized by random, yet controllable, behaviours.

Matos Capote has exhibited his work internationally, including group and solo exhibitions in the U.S.A., Europe, Africa, Australia, and New Zealand. His works have been included in shows at MoMA/P.S.1 Contemporary Art Center (New York); Esso Gallery (New York); Gigantic ArtSpace (New York); I20 Gallery (New York); Massey University (New Zealand); Dak'art 2008 Biennial Off (Senegal); Sydney Non Objective (Australia); La Casa Encendida (Madrid); Centre d'Art La Panera (Lleida); Centro de Arte La Recova (Tenerife); and at Centro Atlántico de Arte Moderno (Gran Canaria) among others.

He has performed in a variety of settings and festivals, including STEIM (Amsterdam); Cafe OTO Residency (London); Instituto Cervantes (Berlin); Sónar Festival at MACBA (Museu d'Art Contemporany de Barcelona); CCCB (Centre de Cultura Contemporània de Barcelona); Arts Santa Monica (Barcelona); Espai Ubu (Barcelona); Museo de la Naturaleza y el Hombre (Tenerife); Auditorio Adán Martín (Tenerife); and Auditorio Alfredo Kraus (Gran Canaria).

Born in La Palma, Canary Islands (Spain), Matos Capote was a Fulbright grantee and earned his Masters of Fine Arts from Pratt Institute, Brooklyn. He is currently a doctorate (PhD) candidate in Sound Art at Facultad de Bellas Artes in Cuenca, University of Castilla La Mancha, Spain, and member of the research group Taller de Acciones Creativas (TAC) at Universidad de La Laguna, Tenerife.



Lissa Meridan (b.1972) is a New Zealand composer and sound artist based in France. Her works include orchestral, chamber, vocal, filmscore, electroacoustic, gallery installations, live electronics and mixtures of the above. Her work is perpetually evolving, each composition growing out of its own unique concept. She aims to draw an evolving musical experience from a palette of contemporary orchestral music, ambient soundscapes and noise-based electronica, while still maintaining a sense of authenticity and beauty reminiscent of her homeland.
She was awarded the Edwin Carr Scholarship 2007, the New Zealand Symphony Orchestra 2006 Lilburn Prize for this present brightness, the Auckland Philharmonia Orchestra Composers Prize 1999 for firecracker, the University of Auckland Composition Prize for instrumental music 1998 for blood roses, the Douglas Mews Prize for vocal compositon 1997 for cavespell, and the University of Auckland Composition Prize for electroacoustic music 1995 for rushlight.

Meridan studied composition at Auckland University before going on to become Director of the Lilburn Electroacoustic Music Studios at the NZ School of Music in Wellington at the age of 28 years, where she led the Sonic Arts Programme and continued her composition and research until 2007. During this time she undertook a major research project in performance practice in electroacoustic composition, which culminated in the Australasian Computer Music Conference: Ghost in the Machine, which she chaired at Victoria University in July 2004. Following a sabbatical year in Paris as Artist in Residence at Cité Internationale des Arts, she decided to leave her post at the University in order to concentrate fully on her composition work in Europe. She is currently completing her doctoral research in musicology at the University of Bordeaux.



He composes and interprets live electronic music since his first experiments with home-made devices and recordings manipulations in 1982. He has taken part in several pop-electronic, industrial or experimental bands in the 80's such as Drama-Drama, Fábrica de silencio, Kcarcevol or Caos. In 1986 he founded he band ‘EBM-electro’ Kalashnikov.
Nowadays he performs with analogical trackers and synthesizers and digital in hardware in clubs or electronic festivals



IRíSONO is the artistic name for Javier Iriso. León (Spain) 1965

He was he co-author of the poetic-musical performance Paisaje Rimbaud in 2008. He has also collaborated in the multimedia performance "Miguel Hernández, El Poeta que no Cesa" directed by Fernando Urdiales in 2009. He has also collaborated with artists such as M.Bastian, Nilo Gallego, Fasenuova, Pangea, Non Ergo or Homo Ambiens.
He teaches Musical Language at the Conservatorio Rafael Frühbeck in Burgos.



Sonema is an open and collaborative group that share experiments, practices and theories around sound and it is composed of a growing number of people and institutions.
Its goals are: the open exploration of the sound from different approaches; the promotion of experiences, initiatives and efforts around the recording and experimentation with sounds within a wide and participative audience; a public and collective creation; the creation of listening encounters, audience training and the interaction between sound and the urban space.





Engineer and graduated in Fine Arts. She has investigated about “Space, time and sound in Contemporary Art” and she is currently doing her PHD on Sound Art in Castilla and León. She has developed installations recreating sound landscapes on the place’s archeology. She has participated in several exhibitions in different Art Galleries in Spain (Sevilla, Salamanca, Cáceres, Cantabria).



Espacio Tangente:
Monday-Friday: 18.30 -21.30

Valentín Jalón 10, bajo -
947 216 127


Translates Elena Oña


Centro de Creación Contemporánea ESPACIO TANGENTE / Valentín Jalón 10, bajo / 09005 / Burgos / 34 947 216 127