With Siren, originally composed by British sonic artist Ray Lee, it is proposed an auditory and visual experience constructed through the installation of body and sonic sculptures, which arrange a sensorial landscape marked by the character of the enveloping, the synergetic, the hypnotic and the progressive. It consists of a display of tripods with rotating arms, or “sirens”, which, as they rotate, emit pulses of sound at different frequencies, generating a polyrhythmic structure that is always controlled yet imprecise; to this sonic image, in itself rich, is added its vital and performative character: for each position that is occupied in relation to it, it sounds differently, which originates a myriad of singularities from the same phonokinetic chorus, unrepeatable and alive in itself.

What is special about the Matadero’s exhibition of this work is its dialogue with the elements of dance and corporeality. To this end, the specific vocabulary of Breaking is used in order to deal with the relationship of the dance and the dancer with this specific audiovisual environment in two main senses: the formal, as the compositional adaptation of the danced movement to this regime of ordered disorder, using directed and conscious improvisation as the main tool, and the material, as the physical and therefore visual analogy between the mechanical dimension of redundant rotation of the installation and the circular and continuous volumetry around axes typical of certain specific ranges of movement of Breaking.

Thus, the choreographic approach adheres to the theoretical and practical proposal of Siren as a project, offering as a result a linkage not simply juxtaposed but complementary and, in short, integral, of dance and installation; of body and machine. One that gives rise to the same defined, synchronous and coherent exercise, and hence stimulates the visitant.