Listen to Del cuadro a la postergación (1994, acousmatic, stereo)

Composed by Patricia Martinez
Composer notes
Del cuadro a la postergación was part of the diptych Espejos de tiempo  / Mirrors of time.
It is based on a work by the German artist Günther Uecker called The nail on the paint.
The work is a reflection about time, about how an instant maybe can be the whole eternity, about that snapshot impression of something at the very first moment of the encounter, almost an inapprehensible instant.
It was composed at the GMEB Studios and won a Prize-Residence at the International Competition of Electroacoustic Music in 1993, (Groupe de Musique Électroacoustique de Bourges, France). It also won second prize in the Diffusion International Competition (2003, University of Limerick, Lyric FM, Ireland).
The first public performance of Del cuadro a la postergación took place at Synthese Festival, 1994 (Bourges, France). Subsequent performances include the New York City Electroacoustic Music Festival (2018),  IV Brazilian Symposium on Computer Music (IV SBCM, 1997), and the 6th Annual Florida Electroacoustic Music Festival (1997).

Patricia Martinez is an active Argentinian Spanish composer, interdisciplinary artist, and performer, based in Buenos Aires. Her works has emerged, in part, from an experimental process of  stripping-down, which involves a degree of risk-taking, in that the resulting music is left somewhat vulnerable in terms of its expressive identity. Her creative and research interests are focused on new music composition and interdisciplinary projects, especially contemporary

music theatre, new opera, extended music composition and performance, a sensible use of technology (electroacoustic and video art), improvisation, and choreography-composition.
Ensembles and performers who have played Patricia’s music include Arditti, The Jack, José White String Quartets, C2, San Francisco Contemporary Music Players, WasteLAnd, Ensemble Ipse, Bang on a Can, SurPlus, Ensemble Adapter, Retro Disco, Seth Josel Trio, ACME, Staatstheater Darmstadt Ensemble, KHEMIA, Stanford New Music Ensemble, and many others.
Her works have received numerous awards including the most important recognitions of her country and abroad, and she has received fellowships, grants, residencies and commissions from numerous domestic and international music organizations and institutions. Since 1990, she has been the artistic director, founder member and performer of different new music and experimental ensembles in Buenos Aires, Paris, and Virginia. She is member and organizer of FASE, a non-profit organization of artistic policies. She was jury member at the National Composition Competition Juan Carlos Paz (National Endowment for the Arts) 2015/16. Her works were published by Melos Editions, Babel Scores, Casa de las Américas; Innova, Wergo, 80 Mundos, CICTeM and Ein Klan Records. She is artistic director and founder of Compañía Helada (Frozen Company) of new opera. She is currently a professor of Composition at National University of Quilmes (UNQ); at the Superior Conservatory of Music from Buenos Aires City Astor Piazzolla (CSMCBA) and external tutor at the Doctoral program in music composition at the National Autonomous University of Mexico (UNAM). She holds a Doctoral and a master’s degree in music composition from Stanford University, where Brian Ferneyhough was her advisor. She studied at the Municipal Conservatory of BA, National University of Quilmes and completing the Annual Course in Computer Music (IRCAM). She taught composition at Stanford University; National of Lima, University of Costa Rica, UNQ, FNA.