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APOIO INSTITUCIONAL | Secretária de Estado para a Cidadania e a Igualdade
With her surrealist experimentations, Colombian musician Lucrecia Dalt draws from a vast wealth of artistic and philosophical influences: from New German Cinema and artificial intelligence to the politics of listening and technological ideas of the future.
After working as a civil engineer in Colombia, Lucrecia has since moved from Barcelona to Berlin.
She has released five solo albums, collaborated with musical kindred spirit Julia Holter and worked on podcasts for the online radio of the Museum of Contemporary Art of Barcelona, on sound design installations and performative pieces for institutions such as Reina Sofia Museum and the Maisterravalbuena gallery of Madrid, in collaboration with visual artist Regina de Miguel.
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LUCRECIA DALT – ANTICLINES (Rvng Intl.) Release: May 4th, 2018
Interspersed with the lyrical pieces of Anticlines are instrumental interstitials that demonstrate preceding concepts — as if to say, «this is what antiforms sound like, and this is what the universe’s indifference sounds like.» Dalt’s ongoing experiments with visual artist Regina de Miguel support these ideas, their practice allowing the objects of their attention to slip in and out of being.
Her slippery spoken word and performative nature is recalling the work of Laurie Anderson, Robert Ashley, Asmus Tietchens or Lena Platonos. While touching stones, The Thing by Dylan Trigg, Cascade Experiment by Alice Fulton, and Wretched of the Screen by Hito Steyerl are but a few formative scripts that support Dalt’s exploration of the betwixt and between.
The album opens with «Edge», bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away.
In preparing a live set for Anticlines, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for «gestures that create tensions with non-existent objects». Dalt intends «to provide meaning and a place for the listener to meditate or relate to the concerns and ideas» she presents.
