Slightly Bent

Svetlana Maraš I Alberto Bernal I Miguel Ángel García Martín

Friday 11 September, at 22:30–23:00

290–450 kr

Please note that venues vary in capacity. A festival pass grants access to the programme, but entry to individual events cannot be guaranteed if a venue reaches full capacity. We therefore recommend arriving early. Admission is on a first-come, first-served basis.

A solo percussion concert moving from handcrafted analogue instruments to impossible translations of the digital, where music makes sense of what we cannot.

In Ramp by Svetlana Maraš and percussionist Miguel Ángel García Martín, a curved silver-grey surface is layered with rows of white tiles, metal rods, sandpaper strips and brushes. Colourful balloons hang underneath, and a large white disc of light hovers to the left like a moon. With hands and mallets, García Martín coaxes rhythms that travel from one end to the other at different speeds.

Alberto Bernal’s impossible translations #3c begins with images of everyday labour, protest movements and stock markets. Each image is paired with the same percussion sound, creating a double movement. Images seem to become music, while sounds are pulled back into social and political reality.

Discarded objects, market movements, media overflow, systems that do not quite add up. In García Martín’s hands, percussion becomes a way of thinking with materials, and with the world.

The concert is part of Ultima Thule: The Closest Possible Sound. See the full programme here.

Programme

Svetlana Maraš and Miguel Ángel García Martín Ramp (2024)

For custom-made ramp, objects, two loudspeakers and electronic sound

Alberto Bernal impossible translations #3c (2011, revised 2026)

For percussion and video

Both pieces are written for and premiered by Miguel Ángel García Martín

Want to know more?

Ramp is at once instrument and composition, in which the arrangement of objects becomes a kind of score. The work was developed in close collaboration between Svetlana Maraš and Miguel Ángel García Martín.
impossible translations #3c is part of the larger impossible translations series, described by Alberto Bernal as “the paradox of an impossible music made possible through the materialization of its impossible translation." More Alberto Bernal in Passage at Voldsløkka kulturstasjon.
Miguel Ángel García Martín also performs works by Svetlana Maraš in The Secret Life of Objects, a sound art exhibition at Kunsthall Oslo.
Svetlana Maraš performs her own work during Ultima’s final concert, in a double bill with Carmen Villain.