Sunday, 17. November 2019, 23:03 - 0:00, Ö1



El contagio feminista #2
curated by Anna Raimondo

1) "Neither God, nor Master or Husband"* by Florencia Curci and Tatiana Heuman


Collaborators: #VIVAS, SASHA SATHYA, ESLABRAVA, LaNegrahLiyah, ELI QUETEMPORAL, María Eugenia García, Josefina Barreix, Estudio Siesta del Fauno, Luciana Rizzo, Gabriela Areal

We propose a journey through time to suggest that the feminist contagion, which can be felt in the fabric of Buenos Aires, is the result of a complex polyrhythmic phenomenon. This work is an attempt to bring together these unique voices from different moments and social environments, which both summon and confuse us.

In the last decade, the call for feminism has grown exponentially, thanks to the converging claims of previously divided social actors. Still, many forms of feminism coexist today, promoting different visions of the future. Are there feminist ways of dealing with time? Is there a feminist time or...perhaps rhythm?

* The title is a quote from the libertarian feminist journal "the Woman's voice" 1896-1897.

2) "Sotto voce_buenos aires deconstructed movement 1" by Zago (40')


I. Input Mariano Boedo Square [-34.622283, -58.413084]
ii. Dekonstruktion
iii. Output _Oriana dankt - und wir danken ihr - Muñiz Hospital [-34.638709, -58.393229]

The vocal tract of the human body-machine is an abduction-adduction device that modifies the air pressure, producing sounds in the 80Hz to 1200Hz range. The primary frequency, in which this bio device is capable of resonating, varies according to age and sex. From birth until age 8, both sexes produce a frequency in 400Hz range. Beginning with puberty, these frequencies begin to diverge and settle around 220Hz for women and 110Hz for men respectively, until they reach 40, at which point they again begin to converge in 150HZ fre- quencies. We therefore asked ourselves: At what frequency does the social body resonate today? To begin to answer this question, we made field recordings in public spaces across Buenos Aires, which we then deconstructed using Audiostellar software.