It takes one to know one
6’50”, 2011

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When you start listening It takes one to know one, you don’t really understand what’s the nature of this piece: is it a narration? Is it a confession? Can you briefly introduce this project?
In my opinion, it is a narration. It is a text written by Lydia Lunch in February 2011. It was one of a series of writings inspired by the Dominique Strauss-Kahn scandal that the French writer and film director Virginie Despentes had commissioned to a group of women authors. It was recorded as an audio track for “Yo no estuve aquí” (I Was Not Here), a solo show I had in 2011 in Barcelona.

How was this collaboration with Lydia Lunch born? Which are the reasons that prompted you to work with this polyhedric figure?
It was born during the “Yo no estuve aqui” process, which was an intervention/installation that i made for the Cultural Space of Caja Madrid in Barcelona; it was part of the “Audiencias Cardinales” (Cardinal Audiences) series and it was commissioned by the curator Alex Brahim. I was searching for a writing which would properly accompany a specific image I had prepared. Both would form a take-away poster piece, (text at one side and the image at the other side). Alex, curator of the exhibition and a friend of Lydia, told me about her writing, which she recited to him at a dinner table. After reading it I found appropriate, and I asked for her collaboration to include the text and its Spanish translation as the back of the image in the take-away piece, as well as for recording it as a Spoken Word by the author herself. The sound track would be available to listen to by headphones at the hall, right across the column of the printed piece, as part of the whole installation.

Your art relies on different supports: video, photo, installations, performance. Why did you choose to work only with the voice in this specific project?
This piece is one of a set which formed a full installation. It was conceived as a spatial intervention and included videos, audio, photos, texts, and objects. Presenting this only piece at the Festival Helicotrema can be seen as an isolation exercise when facing the rest of the pieces of “Yo no estuve aqui”. But it is also a very bold and potentially autonomous work. Indeed it is like returning to its specific starting point: a “found” text, dramatized with an attitude and an atmosphere to turn it into an audio recording.

In your opinion, what makes the sound a powerful medium?
It is the melting place that it occupies that happens to be so appealing, its simultaneous combination of elements: it is time that is passing, it is a dialogue, it provides a big area for imagination and for possibilities of interpretation, it interferes the spaces and can even transform them, among other things…