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@flow.fabiola

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sound tyrant, vocalist, sculpturer, performer, master of ceremony

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Fotão ⚔ do @carlogomes 📸

#composer #guitarrist #jagstang
#bumpingcars

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Your new metal band in town. "Tirana" , only come if you can handle it 🤥 #valkyrie #metalgirl #metalhead

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In Tirana (2022), the practice is developed further to created an immersive sound choreography that explores the limits and physicality of the female voice, both in pitch and volume. Gender issues in sound production and interpretation are addressed and questioned The musical material is derived from Portuguese folk songs and female polyphonic repertoire, which are traditionally sung in a loud and expansive manner and address themes of female labour, motherhood and violence. Sound artist, Inês Tartaruga Água, created an instrument for the work that functions as an extension of breath and voice, bringing vast attention to the haptic nature of sound and the relationship of different resonant bodies in space.

Tirana is:
- a kind of fandango (music or dance in 3/4 or 6/8)
- an old popular Spanish song of moderate movement and syncopated rhythm in triple time, arising from one that began with the words ¡Ay, tirana, tirana!
- an ungrateful, elusive, or evil woman
- a cruel woman

Choreography, Artistic Direction: Luísa Saraiva | Instruments: Inês Tartaruga Água | Performance: Fabíola Augusta, Luisa Fernanda Alfonso, Luísa Saraiva | Outside ear & Dramaturgic support: Francisco Antão | Research: Alice Heyward, Luísa Saraiva, Julius Gabriel | Research and breath training: Sudeep Kumar Puthyaparambath | Costumes: Isabelle Lange | Vocal coach: Fabíola Augusta | Light design: Thaís Nepomuceno

Photo: Dinis Santos @o_dinis_santos

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TIRANA
(2022)
Luísa Saraiva

Tirana
: Kind of fandango
: Old popular Spanish song of moderate movement and syncopated rhythm in triple time, arising from one that began with the words ¡Ay, tirana, tirana!
: An ungrateful, elusive, or evil woman.
: Cruel woman

TIRANA is an immersive sound choreography that explores singing physicalities and the limits of the female voice, both in pitch and volume. The work addresses gender issues through the production and interpretation of sound. Inspiration is gathered from Portuguese folk songs and female polyphonic repertoire, which are traditionally sung in a loud and expansive manner and address themes of female labour, motherhood and violence. Sound artist, Inês Tartaruga Água, created an instrument for the work, bringing vast attention to the haptic nature of sound and the relationship of different resonant bodies in space. By creating movement and sound landscapes, there is a search for the spaces in between, from breath to song. ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ Choreography, Artistic Direction @luisamsaraiva
Sound Installation, Instruments and Activation @tartarugagua
Performance @aliheyward @flow.fabiola @racistdreams @luisamsaraiva
Outside ear & Dramaturgic support @lowslvng
Research @aliheyward @juliusgabrielmusic @luisamsaraiva
Costumes @iso_la_
Research and breath training Sudeep Kumar Puthyaparambath
Vocal coach @flow.fabiola
Production management @i_am_apricot.productions (DE); Joana Silva (PT)

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Tirana

Premiere 19.08.2022
@museum_folkwang #museumfolkwang100

with @aliheyward @racistdreams @flow.fabiola @tartarugagua @sudeep_kumar_puthiyaparambath @lowslvng @_wewe_re @iso_la_ @luisamsaraiva @i_am_apricot.productions

co-produced by:
@museum_folkwang
@fundacao_serralves

funded by @nationalesperformancenetz @kunststiftungnrw #kulturamtessen @dg.artes

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It was so nice having you here, Luísa Saraiva! Over the last week at FREIRAUM, research went ok for her latest work: TIRANA

19th and 20th of August 2022
Museum Folkwang, Essen

TIRANA
is an immersive sound choreography that explores singing physicalities and the limits of the female voice, both in pitch and volume. The work addresses gender issues through the production and interpretation of sound. Inspiration is gathered from Portuguese folk songs and female polyphonic repertoire, which are traditionally sung in a loud and expansive manner and address themes of female labour, motherhood and violence. Sound artist, Inês Tartaruga Água,
created an instrument for the work, bringing vast attention to the haptic nature of sound and the relationship of different resonant bodies in space. By creating movement and sound landscapes, we search for spaces in between, from breath to song.

#freiraum #freiraumduesseldorf #artistempowerment #artistpost

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Rekapitulation
„Geheime Treppe“
Svenja Wolff @svenja__wolff mit Konzert der Künstlerin @flow.fabiola
30.07.22-13.08.22

„Diese Ausstellung kam vor Allem durch unser erstes Treffen zu Stande, ich der ich mich nicht nur direkt in eines [von Svenjas] Bildern verguckt habe, sondern ebenfalls fasziniert davon war wie reflektiert und sachlich die junge Frau über Werke spricht, die meiner Meinung nach auf eine beeindruckende Auffassungsgabe und künstlerisches Geschick schließen lassen.“
Auszüge aus der Laudatio

Das gesamte Team der Megaphon Galerie Halle (Saale) dankt vor allem Svenja und Fabíola für die großartige Zusammenarbeit und den gelungen Eröffnungsabend!

📸 @j.ruben_art

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Premiere in one week Tirana @museum_folkwang August 19th and 20th #100jahremuseumfolkwang @aliheyward @racistdreams @flow.fabiola @tartarugagua @lowslvng @_wewe_re @imwheatear @i_am_apricot.productions

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2000 Jahre Institut für Leistungsabfall und Kontemplation - Müh -> 0
the inunofficial (munich)-noise-sampler
CD-R

#vistvunkrecords #cdr

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Uriel Orlow, Performance im Rahmen des Kunstwerks Reading Wood (Backwards) [Holz lesen (Rückwärts)], 2022, mit der portugiesischen Performerin Fabíola, 12. Berlin Biennale, Akademie der Künste, Pariser Platz, 11.6.–18.9.2022
Foto: Silke Briel

Uriel Orlow, Reading Wood (Backwards) [Holz lesen (rückwärts)], 2022
Tapete, Fotografien, Holzobjekte, Klänge; performative Aktivierung

Uriel Orlow, performance as part of the artwork Reading Wood (Backwards), 2022, with the Portuguese performer Fabíola, 12th Berlin Biennale, Akademie der Künste, Pariser Platz, 11.6.–18.9.2022
Photo: Silke Briel

Uriel Orlow, Reading Wood (Backwards), 2022
Wallpaper, photographs, wood objects, sounds; performative activation

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Uriel Orlow, Performance im Rahmen des Kunstwerks Reading Wood (Backwards) [Holz lesen (Rückwärts)], 2022, mit der portugiesischen Performerin Fabíola, 12. Berlin Biennale, Akademie der Künste, Pariser Platz, 11.6.–18.9.2022
Foto: Silke Briel

Uriel Orlow, Reading Wood (Backwards) [Holz lesen (rückwärts)], 2022
Tapete, Fotografien, Holzobjekte, Klänge; performative Aktivierung

Uriel Orlow, performance as part of the artwork Reading Wood (Backwards), 2022, with the Portuguese performer Fabíola, 12th Berlin Biennale, Akademie der Künste, Pariser Platz, 11.6.–18.9.2022
Photo: Silke Briel

Uriel Orlow, Reading Wood (Backwards), 2022
Wallpaper, photographs, wood objects, sounds; performative activation

@berlinbiennale @silke_briel @urielorlow @flow.fabiola

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T i r a n a @tartarugagua @aliheyward @racistdreams @flow.fabiola @lowslvng @imwheatear @sudeep_kumar_puthiyaparambath

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