In 2006, Binaural / Nodar started its regular activity centered on hosting sound and media arts projects in the village of Nodar, a format that allowed a deep reflection on the potential of the connection between anthropological and environmental aspects of rural contexts and a expressiveness linked to a sense of necessity in order to rescue forgotten narratives. As of 2007, Binaural Nodar’s team, formed by sound artists, media artists and performers, embarked on the development of artistic creations, seeking to define its own distinctive brand that could allow to deepen themes and methodologies that are thought through over time and establish connection with the territory, its communities and dynamics, not necessarily in the restricted period of an artistic residency of two or three weeks.
A first cycle of creations was developed by Manuela Barile between the years 2007 and 2013, which had as a guiding thread themes related to the experience of pain, death and popular religiosity in the context of Gralheira mountain range (municipality of São Pedro do Sul ) and articulated sound art, experimental music, site-specific performance and video creation. Some examples of these works are “The bride“, “Rheia Zoontes”, “Cà”, “Moroloja” and “Macário”.
A second cycle of creations has been developed by Luís Costa since 2013, and the approach has been to conceive collaborative performances in public space that address a specific theme of the territory of the Portuguese region of Viseu Dão Lafões, notably “Campanologies Beirãs” (bells and churches), “Perennial Bridges over Temporary Waters (bridges and rivers),“ Thermal Sound Immersion ”(the memory of thermal spas) and“ Where is my Paiva born? ” (stories from the Paiva River).
Finally, other creations have been developed through invitations to creators such as Maile Colbert (“Passageira em Casa”), Rui Costa (“La Scatola”), Duncan Whitley (“GD Parada”) and Ana Rodríguez (“Spoken plants: a vegetalable memory archive ”).
