If we assume that the landscape is what one chooses to observe, or in this case, to listen
to, the concept of intervened landscape is perhaps the one that best defines what we
present here. Although the initial idea of the project was different: to map, through
sound, the implications of living at the border. To record, cut, clean, and edit the
murmur of a territory that appears pleasant, friendly, and tranquil at first glance. This is
what is expected of a city in the middle of the desert.

However, the obtained result has been more artistic, more social, more symbolic, and
even closer, if possible, to the sensory. While taking a journey, or a panoramic listening
of these five works, we encounter elements as diverse as the territory inhabited by them.
If we were to define them, we might say that “San Martin of the coast” is a stroll
through an extensive and diverse auditory showcase of the city; that “Agrovoices” is the cry of a town on its own stage; that “International” is the skin of this place, it is
landscape, continent, and container; that “FCALP” is soul, the (re)creation of a
phantasmagoric space; or that “Sanctuary” is an environmental protest of a unique
natural reserve. Nothing could be further from reality.

To listen to these five pieces, one must let themselves be engulfed by the sound. And
play. To reconstruct the elements set on stage. To immerse oneself in the story, the
characters, and the imagined landscapes. To discover the close, the familiar. To
fantasize about the strange.

Just a recommendation. Do not attempt to unveil everything at once. This land is
compressed time and space. The everything and the nothing in unison. Give the
listening some time. Unravel, savor the sounds that each piece conceals. You are sure to
find reasons to return.

“Sound Desert” is the outcome of an artistic exploration carried out in Arica; a Chilean city located in the heart of the Atacama Desert, bordering Peru and Bolivia, which today is north, but once was south.