• justMAD Art Fair, Madrid, 2017

    Último Esfuerzo Rural III (2017)

    Once brought into resonance antiquated rural objects recover their forgotten value by producing mysterious, hypnotic sounds.

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  • Último Esfuerzo Industrial II, Chelva, 2014

    Último Esfuerzo Industrial (2012-2016)

    Último Esfuerzo Industrial consists of four electric motors, four frequency controllers, four contact microphones and four bass guitar amps. The piece evokes aesthetics and dreams of the futurist movement of an age ago.

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  • Mirlitones, ICMC / Totally Huge New Music Festival, Perth, 2013

    Mirlitones (2012-2016)

    Mirlitones was commissioned by DordtYart, Dordrecht in 2012. A new, improved version was shown at Kidogo, Fremantle during the ICMC / Totally Huge New Music Festival, Perth, 2013.

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  • Wilberforces, "Winter Sparks", FACT, Liverpool, 2012-2013

    Wilberforces (2012-2013)

    Wilberforces is a new work within our long series of vibratory projects. The title refers directly to a phenomenon from science, the Wilberforce Pendulum. This pendulum is nothing more than a hung metal spring with below it a central weight plus eccentric weights for calibration.

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  • Chelva, 2010. Picture: Andrea Onetti

    Chutes Libres de Printemps (2010-2011)

    Chutes Libres de Printemps is a project by Le 8 renversé and Bosch & Simons, an adventure around the relationship between man and machine, experienced by two dancers, a contrabass player and the music machine Bang Spring Time.

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  • Forja, Valencia, 2009

    Bang Spring Time (2009-2011)

    Bang Spring Time emerged from a long history of vibrating works with metal springs. It is a long piece, both audibly and visually, a work that needs time to develop and to occupy the space.

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  • Works at La Tour du Pin, France, 2009

    Retrospective
    Bosch & Simons (2009)

    A retrospective of our work from 1990 until 2008 was held in Espace Louis Pommier, La Tour du Pin (Isère), France From September 19 until November 29, 2009.

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  • KLANKENBOS, Musica, Neerpelt, 2014 (new boxes)

    Springtime in a Small Town (2006)

    The boxes and metal springs abandoned the closed space and inhabit a romantic wood in Belgium, acquiring an almost meditative charge.

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  • Último Esfuerzo Rural II, ENSEMS, La Nau, Valencia, 2004

    Último Esfuerzo Rural II (2004-2008)

    This work consists of giant “zambombas” (lions roars), made of ancient wine barrels, played by pneumatic cylinders, that produce extremely low sounds.

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  • Re:New, Huset i Magstraede, Copenhagen, 2008

    Último Esfuerzo Rural I (2004-2008)

    Último Esfuerzo Rural I consists of pitchforks which scratch on glass of windows to be enjoyed inside and outside of the space. A symphony of coarse and shrill sounds.

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  • "White Noise", ACMI, Melbourne, Australia, 2005

    Aguas Vivas (1996 / 2001-2007)

    Oil is sent into vibration and the surface starts to undulate. Light reflected onto the surface of the oil is fragmented. The results are captured with a video camera and projected in real-time.

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  • Retrospective Bosch & Simons, La Tour du Pin, 2009

    Cantan un Huevo (2000-2001)

    Cantan un Huevo consists of from five of up to fifteen independent vibration units, each with a behaviour as complex as a complete Krachtgever. Hundreds of metal springs, originally tied together to serve as a mattress, form an extremely complex surface when put into movement.

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  • ICMC, Hong Kong University, 1996

    A Castle for Kobe (1996-1999)

    A small monument in the spirit of Japan. Not something heavy and monumental, meant for eternity, but something fleeting, portable, lightweight.

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  • "Kunst Werkt", Dordtyart, Dordrecht, 2012

    Krachtgever (1994-1998)

    Probably our best-known piece for its Golden Nica, received in 1998 at the Prix Ars Electronica, Linz.

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  • Retrospective Bosch & Simons, La Tour du Pin, 2009

    Vooruitgang (1994) and Trajectversterker (1993)

    The vibrations generated in the Trajectversterker and Vooruitgang are able to transport objects over a distance on a track constructed out of a number of wooden elements.

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  • TARt’91, Universiteit Twente, Enschede

    Electric Swaying Orchestra (1991-1992)

    Parametrically-driven pendulums lead to situations that are impossible to control entirely, producing an ever changing music.

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  • Retrospective Bosch & Simons, La Tour du Pin, 2009

    Was der Wind zum Klingen bringt (1989-1990 / 2003)

    An apparently unpredictable sequence of timbres, harmonies and dynamics are combined to create the illusion of a living object.

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Las Máquinas Musicales de Bosch & Simons

“En 1896, Nikola Tesla, uno de los más grandes genios de la era eléctrica, ajustó un pequeño motor oscilante a la viga central de su laboratorio en Manhattan provocando así una poderosa resonancia física que condujo a través del edificio y hasta el suelo, para causar un terremoto que hizo temblar edificios, y rompió cristales y tuberías en un área de doce manzanas. Tuvo que detener el motor a golpe de martillo. Tesla afirmó que podría calcular la frecuencia natural de la tierra y convertirla en una fuerte vibración utilizando un conductor bien ajustado de tamaño adecuado y en un lugar específico.” (*)

Este supuesto aún está vigente en nuestros proyectos vibratorios. Mientras trabajábamos en el tema “Resonancias estimuladas mediante vibraciones mecánicas” nuestro principal interés no sólo era amplificar una frecuencia que ya existía, sino crear un complejo sistema en el que varias frecuencias se influyeran mutuamente. La estabilidad sería entonces tan frágil que incluso la más mínima alteración podría ser capaz de provocar un resultado imprevisible. Al igual que en la Electric Swaying Orchestra (1991-92) las frecuencias naturales y forzadas de los objetos (cajas y muelles, péndulos ) están tan a tono unas con otras que los sonidos y movimientos que produce la instalación pueden alterarse casi imperceptiblemente del orden al caos y viceversa. El papel del ordenador es paradójico: a pesar de controlar el mecanismo (los motores eléctricos), sólo puede predecir vagamente el resultado físico de sus comandos. Y a lo largo de los equilibrios inestables, del orden y del caos, existe el elemento del sonido. La fuerza pura del sonido y el sonido en su más pura manifestación (música) siempre serán parte integral de todas nuestras instalaciones. El sonido, como medio que potencia un lugar especifico, ocupa ese mismo lugar: nuestros proyectos vibratorios nos permiten generar vibraciones con las que podemos llenar el espacio. Después de todo, las ondas sonoras son también vibraciones.

(*)De: ‘The Sound of One Line Scanning’ de Bill Viola en Sound by Artists, Walter Phillips Gallery, Banff, Canada,1990, p.43

 



 TODAS LAS OBRAS

ÚLTIMO ESFUERZO INDUSTRIAL I-IV (2012-2016)

Último Esfuerzo Industrial consists of four electric motors, four frequency controllers, four contact microphones and four bass guitar amps.

MIRLITONES (2012-2016)

Small fluctuations in the air pressure cause subtle changes in the sound, composed of low frequencies, harmonics and phenomena like combination tones and beats.

Último Esfuerzo Rural III (2017)

Once brought into resonance antiquated rural objects recover their forgotten value by producing mysterious, hypnotic sounds.

Wilberforces (2012-2013)

Wilberforces is a new work within our long series of vibratory projects. The title refers directly to a phenomenon from science, the Wilberforce Pendulum.

Aguas Vivas (1996/2001-2007)

Oil is sent into vibration and the surface starts to undulate, changing constantly. Light reflected onto the surface of the oil is fragmented. The results are captured with a video camera and projected on a wall, energetic and very hypnotic.

Último Esfuerzo Rural I (2004-2008)

Both parts of Último Esfuerzo Rural produce sounds, big or little, always coarse, sensitive and individual. Part I consists of pitchforks which scratch on glass of windows to be enjoyed inside and outside of the space.

Último Esfuerzo Rural ll (2004-2008)

Último Esfuerzo Rural (“Last Rural Effort”) is composed of two rather different installations. Both produce sounds, big or little, always coarse, sensitive and individual. Part II onsists of giant “zambombas” (lions roars), made of ancient wine barrels, played by pneumatic cylinders.

Springtime in a Small Town (2006)

What makes the work different from our other vibratory projects is its environment. The boxes and metal springs abandoned the closed space and inhabit a romantic wood in Belgium. This way the project acquires an almost meditative charge.

BANG SPRING TIME (2009-2016)

What you see is what you hear: Very long springs between two resonant bodies. Metal bars strike the springs and a wave is set in motion. The sound is born at the same time as the wave, and when the wave dies out the sound also fades away. Or the other way around?

Was der Wind zum Klingen bringt (1989-1990 / 2003)

An apparently unpredictable sequence of timbres, harmonies and dynamics are combined to create the illusion of a living object.

The Electric Swaying Orchestra (1991-1992)

Parametrically-driven pendulums is a well-known subject within the cadre of order and chaos theories. Unpredictable, labile equilibriums lead to situations that are impossible to control entirely.

Vooruitgang (1994) and Trajectversterker (1993)

The vibrations generated in the Trajectversterker and Vooruitgang are able to transport objects over a distance on a track constructed of wooden sound chambers.

Krachtgever (1994-1998)

The Krachtgever , a 12 meter long wall of wooden crates and metal springs is probably our best-known piece for its Golden Nica, received in 1998 at the Prix Ars Electronica, Linz.

A Castle for Kobe (1996-1999)

A Castle for Kobe was simply a necessity. A small monument in the spirit of Japan. Not something heavy and monumental, meant for eternity, but something fleeting, portable, lightweight.

Chutes Libres de Printemps (2010/2011)

Chutes Libres de Printemps is a project by Le 8 renversé and Bosch & Simons, a performance by two dancers, double bass and our work Bang Spring Time.

Cantan un Huevo (2000-2001)

Hundreds of metal springs, originally tied together to serve as a mattress, form an extremely complex surface when put into movement. Oscillating motors cause glass bottles, placed on these spring mattresses, to rattle against on another in many ways.