From this direct experience emerged a sculptural, sound, and visual installation that reconstructs the landscape intervened by fracking and converts the noises of extractivism into aesthetic material. The title 'Geonnitus' functions as a neologism that alludes to the 'noises that deafen the Earth,' in reference to the tinnitus that the planet would symbolically suffer due to the drilling, pressures, and vibrations caused by the extraction of oil and gas through hydraulic fracturing. After two previous presentations in 2024 and 2025, the work now arrives at the CETC in a version specially conceived for that space. Buenos Aires, March 11 (NA) – The Center for Experimentation of the Colón Theater (CETC) will present from March 18 to 27 'Geonnitus - An audiovisual concert about fracking - Third assembly,' a proposal that transforms the sound and material impact of oil exploitation into an immersive artistic experience. The work was born from a trip made in April 2024 by five artists to Vaca Muerta, in the province of Neuquén. The new staging incorporates two live musicians—including a percussionist who plays two sixxen, a key instrument in the work of composer Iannis Xenakis—in addition to five winds, new images, and a sound architecture designed to make the noises that structure the piece tangible. 'Geonnitus' was conceived by artists Leonello Zambón, Julián D'Angiolillo, and Cecilia Castro, with artistic production and curation by Javier Areal Vélez and Florencia Curci. Coordination is by Marina Aizen and Pablo Schanton, with artistic collaboration from Carlos Lescano and Rodolfo Marqués, while general production is by Daniel Borrelli Azara. The work will offer eight unique functions at the CETC, with access via Viamonte 1168. Critics and thinkers such as Graciela Speranza and Maristella Svampa have highlighted the proposal for its ability to transform the noise of extractivism into an aesthetic experience that challenges the public beyond the usual circuit of contemporary art.
