Wind forge. The matter that breathes.

To mark the anniversary of the Foundation's opening, on March 28th, the interior of the Castillo de la Luz will host the percussion performance “Forge of the Wind: The Matter That Breathes,” directed by Francisco Navarro. With two performances, at 7:00 and 8:00 pm, the piece will delve into the dialogue between music, visuals, and lighting, in relation to the work of Martín Chirino.

Forge of the Wind proposes a sonic journey inspired by the sculptural work of Martín Chirino, where percussion becomes a means of revealing the elemental energy of iron, air, and spirit. This performance transforms percussion into an art of transformation. The iron that Chirino bent, twisted, and made breathe finds its echo in the metallic sound, in the rhythmic pulse, in the contained energy of the strike. Percussion becomes a forge of the spirit, where sound shapes the air as the sculptor shapes iron.

To enhance the experience, Belén Álvarez's (LAJALADA) video installation completes this universe, sculpting the air with light. The projections and flashes transform the stage into a breathing space, where every sound vibration finds its reflection.

The Performance

Five movements articulate this journey. Each evokes a symbolic dimension of Chirino's cosmos: the root, the wind, the feminine, memory, and the spiral. The performance does not seek to narrate, but to evoke. It does not represent the sculptor, but rather summons him in sound, in the invisible vibration that also shapes the space.

I. AFROCAN – Root and Resonance

Everything begins in the earth.

-OKHO I. XENAKIS

In Afrocan, percussion emerges as a rite of origin, an archaic chant that recalls the unity between humankind and matter. The timbres of the drum, the tribal polyrhythms, and the energy of gesture connect with the African essence that inspired Chirino's Afrocan series.

II. THE WIND – Suspension and Emptiness

After the Earth, the Air

-POSTLUDES E. COLE

Elliot Cole teaches us to listen to the invisible, to perceive the form of silence and resonance as if they were sculptures of air. In this second movement, cymbals, bells, and the vibraphone suspend time. Silence occupies the center, and what was once a beat is now a held breath.

III. LADY HARIMAGUADA – The Feminine, the Origin

At the center of the spiral dwells the feminine

-REBOUNDS B I. XENAKIS

Iannis Xenakis's work guides us toward a sound sculpture where percussion is matter in motion. That same energy is condensed in “Lady Harimaguada,” whose spiral seems to capture a tense impulse. Together, both works translate physical forces into form: one is a sculpture in time, the other, rhythm made space.

IV. BLACK QUEENS – Power and Memory

Darkness beats in the heart of metal.

-FUDO TCHIKI DUO

Here, percussion takes on its most physical, most earthly form. “FUDO” brings an almost industrial energy, an architecture of rhythms that clash, intertwine, and prevail. Chirino's Black Queens are a symbol of power, dignity, and memory. In this movement, percussion stands as a sonic monument.

V. SPIRALS – Expansion and Order

The cycle closes and opens simultaneously.

- MADEIRA RIVER P. GLASS

From the density of iron emerges the transparency of air. Madeira River by P. Glass marks the point of equilibrium: a sonic geometry of mathematical precision and contained energy. The pulses repeat, shift, and multiply. The music revolves upon itself, like an infinite spiral that advances and returns, never quite closing.

Reservations are required and can be made using the following form.