Sound, musicality, voice, melody, spoken text, and noise, which rival and accompany the corporeal presence, are central to the performances that make up Frequency Singular Plural. A series dedicated to visual art performances, curated by María Montero Sierra, which focuses its programme on the presentation of two new pieces of work every month and, in between the sessions, the exhibition of one of the two interventions. The double performative and visual dimension of the pieces defines the format and rhythm of the programme

Camille Aleña. Interpreter, 2019
While interpreting from one language to another, a cultural identity is generated together with a mental space, in which the melodies that define each language resonate even more than words, if that is possible. In Interpreter, Aleña immerses herself in the melody of two languages thanks to the work of an interpreter from the United Nations, and her device, typically found in an interpreter’s booth, to jump from one language to another. The click of the hand’s pulse is part of the score of a work of anticipation and simplification, it is the mental click that brings the respective musical states closer together and manages to maintain a recognizable melody. Aleña amplifies it by distorting the transfers between languages, emphasizing the music rather than the understanding of the words. The physical exercise of the interpreter, interiorized until the transitions become blurred, generates an action that is distorted and at the same time confused with the dialogue between the performers on the place occupied by music as the peak of existence.

Marco Godoy. Double Reverb, 2019
The congregational power of music is immeasurable, almost unbreakable. Masses of groups, undistinguishable from one another, merge into common lyrics and rhythm. The political use of songs and hymns —the research field for Double Reverb — has been exploited by all the powers, from the religious to the military or the state, and it is still a good friend of revolutions, devaluated trade union groups or enthusiastic sports supporters. Godoy presents a performance to be filmed, in which we can all occupy an action space attracted, as the case may be, by the beguiling rhythm of drums. A band composed by members of different groups deliberately meet here to get closer to the place occupied by percussion in the unification of the mass.

Camille Aleña (Fribourg, 1986) lives and works in London where she creates new links between art, music and the history of forms and media. Camille develops her work through diverse strategies and approaches such as documentary, narrative, performance, and the creation of objects. Especially interested in the singular relationship that exists between music and the moving image, the artist observes experimental tendencies within the traditions and conventions of cinema which she references in her work. Camille Aleña graduated from the Royal College of Art (MA) in London. She studied at the University of Art and Design in Lausanne (ECAL) and at the University of Art and Design in Basel (BA). She collaborated with Architects Herzog & de Meuron in Basel for two years (2013-2015). She received the “Swiss Art Award” in 2018. Her recent exhibitions include spaces like High Art Paris (2018), Supportico Lopez, Berlin (2018) Forde, Genève (2017), among others.

Marco Godoy ( Madrid,1986) explores the relationship between images and ideology. Godoy studied Fine Arts at the Universidad Complutense de Madrid (UCM) and the School of the Art Institute of Chicago, and he holds an MA in Photography from the Royal College of Art (2014). His exhibitions and projects include Hors Pistes. Une autre mouvement das images. L’art de la revolte, Centre Pompidou, Paris (2016); London Open, Whitechapel Gallery, London (2015); Claiming the Echo, Temple Contemporary Philadelphia (2015); Do Disturb!, Palais de Tokyo, Paris (2015); Preaching to the Choir, Herzliya Museum of Contemporary Art, Tel Aviv (2015); New Contemporaries 2014, Liverpool Biennial (2014); Who makes Europe, Matadero Madrid (2013), among others. In 2018 he held exhibitions with Hangar, Centro de Investigação artística, Lisbon, Um trabalho um texto, São Paulo and he presented his project The Fiction of Power at La Casa Encendida, Madrid, as one of the winners of Generaciones 2018 award. He is the recipient of the Primera Fase Prize, Spain (2017).