ConDiT

Origins

conDIT [buenos aires technological district's concerts] is a cheLA's project and it works as a creation platform of concert music, in other words, the new 'classical music' made today.

Around conDIT, since its foundation in 2011, more than sixty national and international activities has been produced, including workshops, concerts, artistic residencies and tours, a semestral magazine called Espiral, spreading the musical thinking of musicians participating in the platform, more than thirty commissions, 4 call for works, and a media open access repository. Actually conDiT is made by Daniel Halaban, text edition, Roberto Maqueda Dominguez, Europe production, Rodrigo Gallegos Pinto, production, Juan Marco Litrica, production and sound engineer, Tatiana Cuoco, video, Ramiro Iturrioz, video, Lucas Giono, design and Luciano Azzigotti, idea.

Activities between 2011 – 2014

Between 2011 and 2013 seventeen commissioned Works, from national and international artists, has been premiered. Among the most remarkable achievements can be listed: nine music works commissioned to new composers, six workshops for residents and external participants, six “Espiral” journal publications, and numerous digital texts. conDiT was also hosted the International Gaudeamus Competition Muziekweek (Netherlands).

Many national and international musicians and ensembles participated in conDiT’s concerts, among which can be mentioned: the double-bass row from the Teatro Colón Orchestra, the French horn player Delphine Gaulthier Guiche, the cellist Martín Devoto, Manos a las Obras duo (formed by the pianist Haydée Schvartz and the violinist Elías Gurevich) Modelo62 ensemble (Netherlands), suono mobile ensemble (Córdoba, Argentina), Nonsense vocal ensemble, the experimental music duo Cilantro, the composer Martjin Tellinga (Netherlands), and the Institute of Sonology of The Hague.

The events and concerts performed are closely articulated with a formative and relational instance, addressed both to the public and to the artists, and that is reflected in the multiple activities that surround the performances.

For this purpose conDiT organizes lectures, seminars, and workshops aimed to create opportunities for local and international artistas to share their experiences and knowledge. Among the most remarkable actions can be listed: Delphine Gauthier- Guiche seminar (2013- UNQUI), reConvert Project seminar(2013 - cheLA), Minka 1 (2013-cheLA) and Minka 2 (2013-cheLA).

In 2014 conDiT received two international artists in residence: the Austrian composer Christine Schorkhuber (performance and installation in March); and the Japanese composer Reiko Yamada (installation in August). The residence of German artist Noid is scheduled for December, he will present an installation and concert pieces.

Transatlantic Interscores, performed in August in Vienna, was the first international conDiT concert with the participation of the Spanish percussion duo ReConvert Project.

In November conDiT produced the concert Escrituras Argentinas, with the support of the Ciclo de Música Contemporánea del Teatro General San Martín. The concert included works commissioned by the platform. The artists selected were Pablo Araya, Fernando Manassero, Luciano Azzigotti, and Valentin Pelisch.

Espiral

Espiral is a biannual magazine in which artists, critics, and organizers involved in conDiT manifest their reflections and reviews about the works and activities developed under the management of the platform. Some articles by authors specialized in different areas within the music field (and its relationship with other arts) are occasionally included. Espiral also works as playbill concerts, providing a reflective framework for the performances. Some of the authors who participated in Espiral are: Luciano Azzigotti, Luciano Kulikov, Ezequiel Dobrovsky, Fernando Manassero, Ezequiel Menalled, Gabriel Paiuk, Dick Raaijmakers, Martjin Tellinga, Eduardo Spinelli and Nicolaus A. Huber. Related to conDiT’s artistic proposal, the content of Espiral is based on a multidisciplinary esthetic program. This relationship is materialized through the involvement of different artists to generate de audiovisual material for each publication. Among the visual who participated in Espiral are: Tomás Rawski, Diego Alberti, and Ananke Assef.

taPeTe (Technological Performance Atelier)

taPeTe was created to fulfill the contemporary music’s need for a theater that can be configured to meet diverse purposes. The graduation of the acoustic ranks of absorption and diffusion in three defined spectral bands, helps the space to meet the requirement of traditional concert pieces. They require a high level of definition and sound customization. In taPeTe can also be performed acoustic pieces for instruments which require very specific space conditions, but can also be adapted to performances which require the use of extended materials. Finally, on the auditorium can be developed instrumental and scenogaphic workshops, aimed to provide a space to fulfill luthiers’ and composers’ needs. In every Project the artists are able to use the space and manage it in totally different ways, offering different experiencies from the traditional ones – not only in theatrical but also in spatial terms. In taPeTe can also be performed contemporary pieces that can not be displayed in any other conventional space.

Minka

Minka is a pre-Columbian tradition of volunteer work, in which the members of a community work for the advantage of the whole group. In some áreas the Minka is still relevant today. Based on this concept, keeping in mind the idea the creation of a cooperative working method, the composers Luciano Azzigotti, Fernando Manassero and Rafael Subía Valdez designed a composing system under the name of Minka.

The first Minka was done in cooperation with the assembles Modelo62 (resident at Condit in April 2013) and the Contemporary Music Ensemble of the Department of Performing Arts IUNA, The cooperative composition system consisted of a working day to create and assemble a piece from scratch, under five pre-set slogans organized in five phases.

The second Minka took place in October 2013 with suono mobile Argentina, a contemporary music ensemble from Cordoba (resident at conDiT) in cooperation with Contemporary Music Ensemble of the Department of Performing Arts IUNA.

Container

In Argentina there is a tradition related to classical concert music, in which the programmers and regisseurs of Argentine concert halls receive (with the support of embassies) top level foreign artists who spread the music of their countries in Argentina. This project has the clear objective to generate a mutual opportunity, so Argentine composers and musicians can spread their work abroad within an integrated broadcasting, recording, and international artists’ exchange program; framed by the principle of equal opportunities. The purpose is: update the old "center-periphery" relationship, energizing and encouraging the symmetry of cultural exchange between Argentina and the world. The first chapter of Container is possible thanks to the collaboration between the Embassy of Argentina and conDiT.cheLA, whose team will be in charge of the organization, choice of repertoire and residents, commission works, and the activities advertising. This project will be carried out by groups and halls in Vienna and Graz, associated with conDiT, and will be the second step after the partnerships we have begun in 2014 with the reception of Austrian artists in our platform. During 2015 conDiT will form an ensemble in Vienna with young professional musicians. The ensemble will premiere works by Argentine young composers, programmed for the second Container concert (the first antecedent is Transatlantic Interscores, July 2014) on December 10th.

Church organ's restoration

During 2015 conDiT will be in charge of stages 2 and 3 of the restoration of the San Antonio de Padua church’s organ. This action crystallizes the commitment of the platform with the practice and exercise of the collective memory in Parque Patricios. The restoration of an instrument transcends individual possibilities, it is always a call to the collective voice. Like bells announcing the moments of meeting, provide sound awareness to abandoned instruments allows us to hear and participate in rituals, and prefigure new ones, updating the exercise of our poetic consciousness that drives us to root ourselves and transcend. With the different impacts of technological waves, the customs of the music’s functions have changed especially in the last century. We are surrounded by an invisible past that deserves to be reborn from silenced voices. This not only means restoring an instrument, but after that restore the memories of those organists who made music that triggers fervor, beliefs, and wills.

Commissioned works

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2011

2012

2013

2014

2015

conDIT.scime [expanded music concerts serie]

2016

Press

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