Arequipa’s experimental music scene is rather small and scattered. At some point in the mid 2000s sound experimentation walked its first steps: an abandoned factory, an old mansion (Casa Villalba) and small spaces allowed the flow of noise through the city.

On the other hand, no permanent place for sound experimentation has been established over the last few years; however, asimtria.org has been active in the city: it’s a platform dedicated to researching, circulating, implementing and transferring contemporary audio-visual and sound practices.
Simultaneously, collectives as Roiduoma have emerged and have been playing small sporadic gigs in bars and rehearsal studios. Thanks to such occasions, a sort of sound exchange has occurred in a spaced and decentralised way between local sound makers, mostly young makers. So, when I started to play alone, I was wondering about the work of femxle noise musicians here in Arequipa.

Summer 2019

The noise and experimental scene of Arequipa began to change with the appearance of Yume station – a local project led by Karen Huacasi (former Ruidosfera bassist ) – and with #DMTh5 also taking shape –  the nomadic project of Irma Cabrera Abanto, an artist from Cajamarca who has been travelling between her city and Arequipa.

When such a transient context allowing noise and art to happen occurred, the chance of generating a shared space of artistic intervention made by womxn, of conjuring up multiple sound intentionalities, and of promoting the sharing of sensitivities became vital.

This space was to be perceived; a halo of rituality and expectation permeated the preparation to gather, a desire to provoke creative energy, an individual as well as a collective one; generating a disruptive time (timeless island) in a city which was blind to this type of practice: all this led to call such gathering “INVOCATION AND NOISE”.
A call to creation, to projecting outward from within, to manifesting with the body, with the noise and with an active and present gaze.

Illustration by Neufa Quispe

The visual and physical were invited to merge with sound; the visions that materialized that night were those of artists Rosario Alvis, Neufa Q. García, Natalia Martínez, Irma Cabrera, and Laura Zolezzi through illustrations and photography. Friends from El Rabanito de las Bermudas joined as well sharing their fair of notebooks and stickers.
Lastly, bringing a present and vertiginous body, there was YenyXu Sardón, dancer and choreographer.

As any spontaneous act that has been ruminating, not only at a conscious level but also at deep and unpredictable levels, a previous confluence had already occurred at Pumpumyachkana festival organized by Asimtria in the city of Ayacucho; I was invited to it and there I happened to meet sound artists Patricia Saucedo (from Lima) and María Emilia Pérez (Vermillion project – a Venezuelan artists travelling to Buenos Aires).
Such previous encounters allowed the presence of both artists at “Invocation and Noise”, which would take place only a  week later in Arequipa.
A house dedicated to theater performances sealed the plot that had been silently concocted; the question that was once asked was now being answered.

That night the linearity of time was broken: we met at that time and place, sharing our various latitudes and geographical hazards, and we shared in the immateriality of art.

That night we went to many places: Arequipa, Ayacucho, Cajamarca, Lima, Venezuela, Argentina and an endlessness of transits and accumulated experiences concretized by art and collectiveness.

A fleetingness with much present.

Pics above and below by Natalia Martínez

AREQUIPA – PERÚ | 15.02.2019

Fernanda Huamán Pino was born in Arequipa and lives in Buenos Aires; she studied Biology and its possible encounters with art and sound.
In sound, after a brief academic musical training, her exploration has deviated towards instruments, piezoelectrics, pedals, tapes and vinyls; lately, voice and poetry have also become elements of inquiry.
Antigüedad del presente, f(loto), ffffwamani and fer’s ferns & the sporolittlebear are the forms of these approximations and she overturns this all in blandas disonancias.