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Morro da Provid​ê​ncia


Êxodo 05:10
Derivas 05:53


The pieces were born during the Residency of Daniel Nunes on "Morro da Providência", in the city of Rio de Janeiro | Brazil, between the 22nd and 28th August 2016.

"After more than 10 years of operations and a series of coherent sonic releases, Brazilian label La Petite Chambre has decided to broaden the field of its researches and interests. Such movement is provoked by the need to include more and more pertinent and relevant works, having the sonic media as a starting point for questionings and inquiries of political, cultural and existential motivation.

It is in such context that the new work that is put out by the label should be appreciated. La Petite Chambre releases in digital format, the complex and multi-layered piece “Morro da Providência”, composed by Daniel Nunes, Brazilian sound designer and music producer from Belo Horizonte – Brazil, with the participation of the harsh noise creator God Pussy. The release captures the experiences and impressions gathered by Nunes in the neighborhood that baptizes the sonic study, Morro da Providência (Rio de Janeiro - Brazil) between 22 and 28 August 2016. These recordings were later recorded during a performance at the Art Museum of Rio de Janeiro.

This work can easily be framed within the aesthetics of sound art. The subjectivity it allows to arise, reveals a detail-oriented and meticulous processing. It offers itself as an affective landscape that is outlined at the thresholds of identity and locality. Nevertheless, to say these recordings are in any way a truthful representation or an authentic translation, of the life in the “Morro”, would be putting too much faith in the mimetic process with which Daniel tunes in. To limit the work that is here presented, to the fading potentiality of being a mere copy of an egotist image in the spirit, dismisses the fact that all translation presupposes an inevitable confrontation, an affiliation or alliance that carries with it animosity and contrariety. And even more, such line of appreciation would respond for nothing but a dim part of the potential contained in these recordings.

Daniel doesn’t choose easy solutions to his craft and takes on the challenge to scrutinize the cracks and fissures, open across the social tissue. Such choice makes possible for him to penetrate that reality, aware and respectful of the complexity that constitutes it, keeping intact his respective roles, of both observer and observed. During his stay in the Morro, Nunes allowed himself to wander through its streets and alleys guided much more by his affections and sentiments, and not really by a structure that would have been given beforehand. He was the map. Such posture allowed the artist to illuminate, with a trembling but everlasting flame, a world beyond simplistic oppositions. The aesthetic strategy turns into a political one, making possible for Nunes to escape from cultural forms of representation that would be satisfied with reductionisms and generalizations. More than that, his choice aligns his practice with a broader investigation into themes of history, identity, and existence.

The artist from Belo Horizonte approaches his study while still acknowledging the fragmentations, distances, absences, and dissonances that are inherent to its elements. Representation is not resolved in a perfect mirror, but rather in the recognition of this very continuous flux of negotiations. In addition, God Pussy’s contributions are the urgent alarming sign, making flagrant the importance of anchoring our creative processes in the present moment of history, at the same time that it contributes to liberate alterities from suffocating and limiting realms.

In times of urgent historical and political needs, the work of Daniel Nunes shines as a reminder, that explanations trying to contain difference and diversity within conservative and harmful statements should be confronted. The five tracks here presented constitute an attempt to revisit historical temporalities that have been frozen in stillness, charged with entrapping dichotomies, joining the larger project of opening ourselves to a new possible view of the present. The experiences that were recorded and the recordings that also gave place to new experiences and sentimentalities, now offer the trace and signs of both, the sentimental cartography of a community, and the aesthetical and political choices of an individual.

― Julio Pattio, Autogenesis Magazine


released February 7, 2019

Daniel Nunes: Soundscape edition, Casiotone mt-68, and voice
God Pussy: Noise

Recorded during the performance on September 24, 2016.
Project MARgem: Música Experimental no MAR - Museu de Arte do Rio de Janeiro

Curatorship by Chico Dub

Artwork by Bruno Nunes


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