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The Canadian artist and curator Aimé Lukin discuss Gower's work focusing on Mexican modernism and muralism on view through July 17 at Americas Society.
The Spine of Music.
Sonorimba, imbaluna, sinusoide, ululante. JoaquÃn Orellanaâs instruments have unusual names, formed by mixing the words that describe the shape created with the sound he is seeking. The Guatemalan composer could also be considered a sculptor by those who visit the exhibition
The Spine of Music, featured at Americas Societyâs through April 24. The exhibition puts Orellanaâs
útiles sonoros (âsound toolsâ) on display and reveals the interdisciplinary nature of his work.
When he began making his instruments, Orellana was âsolving a problem,â explains Diana Flatto, exhibition co-curator. During a fellowship at the preeminent Centro Latinoamericano de Estudios Musicales at the Instituto Torcuato Di Tella in Buenos Aires, the composer was heavily influenced by electronic music, then in its infancy. But when, in 1969, he returned to Guatemala, the technology to create electronic music simply did not exist there.