88 © 2019 Voghler. All rights reserved
String theory
Composition of 88 works dedicated to the Piano….

Voghler
Jose Lopez Montes

ESSENZQUARTTET © 2019 Aif Immerxive + Voghler. All rights reserved

Áthera

Composer:Voghler

Composer:José Manuel Baena

Composer:Héctor Eliel Márquez

Composer:José Lopez Montes

Cello: Álvaro Peregrina

Visual Art: Aif+Yenia Tsekalo

Sound Engineer: José Luis Crespo

System Dolby Atmos + Auro 3D
Designed in Aif, the result is a «spatial audio wave field synthesis» built using a Barco IOSONO audio processor.

As Voghler explains: «This is object-based audio as opposed to panned information from speaker-to-speaker, as found in conventional 5.1 systems. This is not loudspeaker specific. We create a soundfield, using speakers of course, and we inject images in to this soundfield. The speakers are told by the processor what soundfield to create.»

As well as wanting to push the technological boundaries, sound quality was paramount , ‘I want to feel the sound, more than to hear it’.
Aif Immerxive

CODA; Collateral Damage.© 2018 Voghler. All rights reserved
Genres: Electronica-Trip hop-Techno-Big beat-Rock Electronico-Alternative dance-Neo psychedelia-Video Art

In the shadows

Music: Voghler
Voice & Lyrics: Jo Cho

IMMERXIVE FEST © 2019 Aif Immerxive + Voghler. All rights reserved

THÉÂTREPLAY © 2019 Aif Immerxive + Voghler. All rights reserved. Theater Transdisciplinarity

Teatro + Sala Transdisciplina

© 2019 Aif+Voghler. All rights reserved

© 2019 Aif+Voghler. All rights reserved

THE ART BOX
Design Voghler + Aif Immerxive
Box with immersive audio and projections….

Throughout the different works present in ‘Una puerta violeta’, the viewer is placed before four major issues or debates: the private and the public as a single reality; the body as a physical and psychic reality at the same time and its role in men and women to situate itself in the world that generates relations of power and domination; the genders and their diversity breaking the masculine and feminine dichotomy; and psychic ‘self-castration’ or self-imposed psychic limitations by many women.

Video Art: Voghler
Music: Dario Marianelli

OBSPHERA.-2019 Capilla Inmersiva
Design Voghler + Aif Immerxive

Dolby Atmos + Auro 3D
Designed in Aif, the result is a «spatial audio wave field synthesis» built using a Barco IOSONO audio processor.

Spat (or Spatialisateur in French) is a real-time spatial audio processor that allows composers, sound artists, performers, and sound engineers to control the localization of sound sources in 3D auditory spaces. In addition, Spat provides a powerful reverberation engine that can be applied to real and virtual auditory spaces.
The processor receives sounds from instrumental or synthetic sources, adds spatialization effects in real-time, and outputs signals for reproduction on an electroacoustic system (loudspeakers or headphones).

Its modular signal processing architecture and design are guided by computational efficiency and configurability considerations. This allows, in particular, straightforward adaptation to various multichannel output formats and reproduction setups, over loudspeakers or headphones, while the control interface provides direct access to perceptually relevant parameters for specifying distance and reverberation effects, irrespective of the chosen reproduction format.

Another original feature of Spat is its room effect control interface relying on perceptive criteria. This allows the user to intuitively specify the characteristics of a specific room without having to use an acoustic or architectural vocabulary.

Spat is, for instance, used for real-time 3D audio rendering with a 350-loudspeaker array in IRCAM’s variable acoustics concert hall.

BLUO
Javier Aviles/Guitar+Diego Contreras del Rio/Drums+Guillermo Crovetto/Voice+Voghler/Synt

Ocaso/Bluo

Aire/Bluo

Design Stage of Luz Casal. Tour 2019
Design:Antonio Gil – Voghler – Yenia Tsekalo – Aif Immerxive + Festo

AONIA: The installation, created in the new Digital Manufacturing Laboratory of the ETS of Architecture of the UMA and the artist Voghler, will be exhibited in the backyard of the Rectorado building. It recreates the grotto where the muses lived according to Greek mythology. In a central pond will be projected the names of some of the most relevant architects, both locally and internationally. This activity of the Malaga School is carried out in collaboration with the Vice-rectorate of Culture and Sports, and the sponsorship of private companies. © 2018 Voghler. All rights reserved

La primera caja sensorial, puesta en escena en C/Molina Larios de Málaga, con el fin de trasmitir una experiencia a traves de los sentidos.
Soprano: Elena Garrido
Violinista: Mario Puerta Gil de Gómez
Bailaora: Carmen Fabia
Bailarin: Hector Gamez
Coro: Coral de Málaga
Audiovisuales+Mapping: Aif Immerxive, Voghler & Yenia Tsekalo
© 2017 Voghler. All rights reserved

IIIC-Ikono Instituto de Investigación Cultural-Málaga
Juan Manuel Rodríguez / María Bueno / Enrike Gharés Voghler / José Luis Puche / José Manuel Gonzalez
www.art-breakfast.com

Ikono Instituto Investigación Cultural presenta su proyecto con los artistas residentes Juan Manuel Rodríguez, José Luis Puche, José Manuel González, Enrique Gharés y María Bueno

Un polígono industrial parece el lugar menos propicio para que las musas vengan a visitar al creador. Pero, si uno lo decora todo para que estén a gusto, puede que se queden a vivir, olvidando hasta el ruido que las rodea. Esa es la intención con la que abre sus puertas Ikono Instituto Investigación Cultural, una iniciativa de la empresa malagueña Ikono Soluciones, en pleno Polígono El Viso de Málaga. Es objetivo es crear una fábrica de arte, un laboratorio cultural, donde los artistas, especialmente a los residentes encuentren un espacio abierto para crear y desarrollar sus proyectos.

Juan Manuel Rodríguez, José Luis Puche, José Manuel González, María Bueno y Enrike Gharés han encontrado el hábitat perfecto en C/Quilla n.º 2 y las musas le acompañan entre acuarelas, pinceles, caballetes y escritorios llenos de ideas y proyecto. ‘Whatever you think, think the opposite’ se lee en uno de los muros entre obras y bocetos. Este jueves 6 de octubre, se celebraba el evento ‘Open Studio’ para presentarlo a la sociedad malagueña y el espacio cobraba más vida aún.

Luces y acción. Suena la música y todo comienza. Es la performance audiovisual del vanguardista Enrike Gharés en colaboración con Vasil Hajigrudev y Azael Ferrer emplea el sonido y las posibilidades tecnológicas del ‘Dolby Atmos Auro 3D’ fusionando el arte visual con el sonido tridimensional. María Bueno (artista becada en IIIC) presentó su proyecto ‘Capilla Septina: el cobijo de los seres’, collage de grandes dimensiones formado por dibujos de pequeño formato pegados unos sobre otros.

Como ellos mismos explican, el IIIC tiene «una filosofía eminentemente enfocada a la producción, la investigación y la formación en un espacio dinámico y fluido, en permanente transformación», cuyo objetivo principal es «generar sinergias entre los creadores residentes y las diferentes disciplinas del arte en las que desarrollan sus investigaciones». En este sentido, IIIC apuesta por el trabajo colaborativo como herramienta de gestión de los oficios.

Palabras clave: arte – sonido – música – arte sonoro – experimental –instalación – improvisación – imagen – video– audiovisual – performance – analógico – tiempo real – sinestesia – tecnología – medios electrónicos – informática – hardware – software

TRANSDISCIPLINA A/V nace para propiciar encuentros y hacer del diálogo un proceso creativo; generar y difundir trabajos colaborativos producidos por artistas dedicados a la exploración auditiva y visual a partir de medios digitales o tradicionales.
Plataforma activada por Azael Ferrer, en la cual el intercambio de experiencias estéticas en torno a la tecnología es el hilo conductor en el desarrollo continuo de una escena viva que está aún por descubrir los alcances de la suma de sus diferentes fuerzas y sus convergencias.
Nuestra primera toma de contacto será un evento un tanto singular, ya que invitamos a diferentes formaciones de experimentación musical, artistas sonoros o proyectos audiovisuales a realizar una pequeña muestra de su trabajo, y como colofón se les propone participar en una improvisación audiovisual grupal. Este encuentro será propiciado por este heterogéneo elenco:
Madeja Alejandro Lévar + Pablo Pecino
Malaventura
Juan Cantizzani
Voghler + Vasil HajigrudevV
Teslaradio Chinowski
Kitty Soul Oigovisiones
Een pianist + Karloff
Liquid Sky Analog visuales analógicas
Azael Ferrer

© 2008 Voghler. All rights reserved

+Enrike Gharés, Javier Aviles, Yorrick Troman+

[Show slideshow]

Enrike Gharés Voghler presents his pictorial work at AM Gallery

The code for flying, by Gharés, is an exaltation to the invisible forms, to the lines that a symphony or a dance can contain, to the harmony that underlies the incorporeal. Its suggestive and elegant forms form a network of blood vessels extending over the fissures that previously the artist has perpetrated on the surface of the tabula on which he works. Gharés conceives, carves and paints wood, opening abysses in it, scarifying it, damaging it with an incipient drawing, healing it with a chromatic pretext.

Gharés, versatile artist, diverse, forceful, curious to the extreme, does not admit barriers in creation. It is overexploited, it is exhausted, it is defined and it is reborn absorbing the new that it gives of itself. The art is multiplied and he begins in a self-taught way the practice of photography, musical composition and painting.

Enrike Gharés Voghler presenta su obra pictórica en AM Gallery

The code for flying, (El código para volar) de Gharés es una exaltación a las formas invisibles, a las líneas que puede contener una sinfonía o una danza, a la armonía que subyace en lo incorpóreo. Sus formas sugerentes y elegantes forman una red de vasos sanguíneos extendiéndose sobre las fisuras que previamente el artista ha perpetrado en la superficie de la tabula sobre la que trabaja. Gharés concibe, talla y pinta la madera abriendo abismos en la misma, escarificándola, dañándola con un dibujo incipiente, sanándola con un pretexto cromático.

Gharés, artista polifacético, diverso, contundente, curioso hasta el extremo, no admite barreras en la creación. Se sobreexplota, se agota, se define y renace absorbiendo lo nuevo que da de sí. El arte se le multiplica y comienza de manera autodidacta la práctica de la fotografía, la composición musical y la pintura.

Coreografía + Audio Visuales + Flymenco.© 2008 Voghler. All rights reserved

Design Stage of Joaquin Crech

Design: Voghler-Javier Aviles
Producer: Gloria Medina
Direction: Francisco Moya
Sound Engineer: Cheluis Salmeron

Escenografía + Poesía + Audio visuales + Cuarteto de cuerdas

TALE´H
Piano: José Manuel Baena
Guitar: César Rodríguez
Cello: Nona Decheva
Double bass: Fathi
Drums: David León
Voice: Voghler

Video:Alfredo Quintanilla
Sound Engineer: Cheluis Salmeron

Música en directo + Audio Visuales

Works in file/Painting / photography / Video art / Audio / Installations / Performances
Contact:voghler@gmx.com

Title:Il ponte
Mixed technique 70x110cm
Enrike Gharés Voghler.-1996

Title:Bach Cello Suite No.1 in G
Mixed technique 70x90cm
Enrike Gharés Voghler

Collective exhibition of young artists

These years were spent doing positions and experimenting with multiple techniques
Series of works made for individuals and interior designers and architects

This bargueño was made with the remains of wood that my father had left on the furniture he made, pine, beech and oak.
Enrike Gharés Voghler 1986

I still remember the first movie I saw in the cinema, what I do not remember is in what year it was….

The old Escolanía de la SAI Cathedral of Guadix

In front of the front of Santiago of this old Cathedral, stands a sculptural collection that recalls the memory of the Escolanía that had the Seo Accitana. In the 50s, Don Carlos Ros, priest who considered music for God as the most beautiful prayer, following the instructions of his bishop Don Rafael Álvarez Lara, of happy memory, undertook the direction of a choir of white voices that contributed to the exaltation of the Cathedral Liturgy with its solemn chants. Thus the Escolanía was born in its double aspect of choir and primary school.

The zeal and tenacity of Don Carlos, and his efforts, made Escolanía a chorus authentically professionalized in terms of sacred music, making many trips throughout Spain and Europe. The years passed, and both, choir and school, contributed to society authentic teachers and music teachers, some of whom, in turn, founded other choirs following the lead of Don Carlos. For various reasons, at the beginning of the 21st century and once Don Carlos Ros died, the Escolanía little by little became extinct, first as a school and then as a religious musical formation.

Thanks to the hand of Don Carlos Ross I learned music and disciplin

I feel lucky to have been one of them