Patricia Martinez: A state of divinity


A state of divinity could be an attempt to create and reflect about our internal superpowers, our inward-divinity.

This interdisciplinary work proposes three performers-characters on stage, as in an imaginary frame of emptiness, or as a theatrical performance, but mostly as an open space of interaction where video becomes a keyhole to be present. They are interacting, in a way, as a kind of symbolic representation of the Sacred Trinity (union of the Father and Son and Holy Ghost in one Godhead). They are questioning and exchanging their role musically and theatrically that results in an increased dramatic drive through the whole piece. Also, the work focused the apparent duality between electronics & acoustic sounds on this possible re-interpretation of something absolutely defined by a perception or inner revealing experience. In addition, it is a goal, the utilization of electronics tools, such as sounds, video or lights, in a completely sensitive way, by revealing its inner flesh entity as well. And, on the other side, it is an exploration of a binary opposition through their inner-automatism-response in body-mind as well. On the other hand, lights and video becomes a frame where the work is growing, interacting and intrinsically related as musical extended materials.

The work demands an intense and complete involvement in the performance, as an integrative conception of interdisciplinary-visual musiktheater work, between electronics, acoustic sounds, lights, performers and video. I believe that media artists are not only digital video creators, rather than having an extended conception of the artistic creation, including different media, as the work’s needs, as a whole.


Patricia Martinez (1973, AR/ES) is an active composer, interdisciplinary artist and performer, working and multi-awarded internationally for the last 27 years, based in Buenos Aires. Her creative and research interests are focused on new music composition and interdisciplinary projects, specially contemporary music theatre, new opera, symphonic and chamber works, computer music, improvisation, choreography-composition and video art. She creates music as a multidimensional expression about the “impossible”: that something that magically shows up, but overflows any artistic language to interconnect them organically into a spiritual, immeasurable and poetical new music-staging dimension, addressing an unsettling examination about loss and suffering.

Ensembles and performers who have played Patricia’s music include: Arditti, The Jack, San Francisco Contemporary Music Players, WasteLAnd, Ipse, Bang on a Can, SurPlus, Retro Disco, ACME, Staatstheater Darmstadt Ensemble, KHEMIA, Cepromusic, Verdant Vibes, Nonsense Ensemble, Experimenta, Encuentros, Seraphim, Compañía Oblicua, La Nada, Zhéffiro, Fractus, LV, Kaparilo and Orkest de Ereprijs.

Her works received awards including: Recommendation Award, International Eisenacher Bach Composition Prize 2020 (DE); selected, First International Music Theatre Competition / Staatstheater Darmstadt / Internationales Musikinstitut Darmstadt (2015); Prizewinner, “12 Minutes for Moniuszko”-International Stanisław Moniuszko Composers’ Competition for a Micro-Opera (PL, 2019); 2nd Prize, International Composition Competition NEW NOTE 2019 (Cr); 2nd Prize, Musicworks’ 2019 Electronic Music Composition Contest (CA); Gold Medal-Award of excellence as composer, Global Music Awards (US, 2016); 2st Prize, American Prize for Professional Composers in Opera Composition (US, 2019); Casa de las Américas Prize (CU, 2015/2019); Nominated, Classical:NEXT Innovation Award 2019 (NL/DE); 1st Prize, 3rd International Young Composers’ Meeting (NL, 1998); 1st Prize Francisco Kröpfl /SADAIC (2013); 1st Prize IBERMUSICAS-IBERESCENA (2015); 1st Municipal Prize, life grant, BA City Government (1999); 1st Prize, National Endowment of the Arts (AR, 1999/2018); 2nd Prize, Diffusion (IE); Residence Prix, International Competition of Electroacoustic Music/Bourges (FR, 1993); 1st Prize, III Biennial of Young Art (AR. 1993).

Fellowships, grants, residencies and commissions that Patricia has received include those from: IRCAM, VCCA/UNESCO-Aschberg; Yvar Mikhashoff Trust For New Music Foundation; Houston Symphony EarShot /American Composers Orchestra; Music Current Festival; Bludenzer Tage zeitgemäßer Musik; Internationales Musikinstitut Darmstadt, Ibermúsicas; Ibermúsicas/meLAB Residency; Centro Experimental del Teatro Colón; IMEB/Bourges.

Patricia’s works has been performed in Latin and North America, Europe, and South Africa, including: Donaueschinger Musiktage; Ars Electronica; Darmstadt Ferienkurse; Music Current; Mittersill Composers’ Forum; NYEMF; Florida Festival of Electroacoustic Music; MATA Festival, MISE-EN Music Festival; Festival Synthese; FILE/Hypersonica; ISCM World Music Days; IRCAM Forum; Palace of Fine Arts; Manuel Enríquez International Forum of New Music; International Festival of Experimental Music/FIME; Festival Musica Estranha; FUSION Festival; Polish National Opera or Colón Theatre.

She was artistic director, founder member and performer of different new music and experimental ensembles in Buenos Aires, Paris and Virginia, since 1990. She is member and organizer of FASE (non-profit organization of artistic policies. She was jury member at the National Composition Competition Juan Carlos Paz (National Endowment for the Arts) 2015-16/19. Her works were published by Melos Editions, Babel Scores, Casa de las Américas; Innova, Wergo, 80 Mundos, CICTeM and Ein Klan Records. She is artistic director and founder of Compañía Helada of new opera.

Patricia is currently a professor of Composition at National University of Quilmes; at the Superior Conservatory of Music from Buenos Aires City Astor Piazzolla and external tutor of the Doctoral program in music composition at the National Autonomous University of Mexico. She holds a Doctoral and a Master degree in Music Composition from Stanford University, where Brian Ferneyhough was her advisor. She studied at the Municipal Conservatory of BA, National University of Quilmes and completing the Annual Course in Computer Music (IRCAM, 1997/8).

Interpreten und Ort:

  • Interdisciplinary creation by Patricia Martínez
  • Performed by RETRO DISCO: Samuel Stoll, horn; Moritz Müllenbach, cello; Simone Keller, synth
  • Live sound recording, technical supervisor: Alexis Nealon
  • Lighting asistant: Shane Gill
  • Video cameras: Adrian O’Connell, Patricia Martínez
  • Audio and video editing and mixing /
  • Light design & performance: Patricia Martínez
  • Production assistant: Tim Diovanni
  • Festival director: Fergal Dowling
  • Commissioned by MUSIC CURRENT FESTIVAL
  • Smock Alley Theatre, April 13, 2019, Dublin.

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