Ultrasound Orchestra

Ultrasound Orchestra works as a dissemination of touch in its sensorial, operational and dimensional driving forces — drawn from structures in the Black family, institutional orchestrations and systems of labour surrounding it: interplaying possibilities for epistemic rupture. The iteration journeys through ideas beyond ‘service’, ‘server’ or ‘servitude’ staged within the context of Galeria Municipal do Porto at the multifaceted site converted onto a playground, garden and auditorium (simultaneously) by Monica de Miranda.

The starting point for the performance essay is J Paris’ earlier sonic lecture series titled ‘Humming as a Praxis’ where he attended gentle sonic gestures as tools for renouncing public corporations rooted in colonial thought [during 2024] at the V&A Museum in Kensington (London) and Padrão dos Descobrimentos in Belém (Lisbon); exploring sounding in these site’s tragic economies.

Henrique J. Paris is a London-based artist-researcher dissecting philosophical, scenographic and architectonic frameworks in relation to [enacted] modes of power, moral codes and Christian discipleship. His practice seeks to push boundaries between visual media and social architectures across an array of mediums such as image-making, installations, performance, archiving and sound composition as sites of proclamation, re-memory and testimony. J. Paris’ ongoing Investigation accentuates intricacies [tied] in-between stigmatized social experiences and modernity. He traces through imperial constructions & technologies of censorship to situate immersing modes of historiography, performativity and reinstitution — coding and/or decoding semantics of intimacy by passing public consciousness as well as authorships surpassing state authority.

This performance forms part of the e activations programme of the piece Timelapse, which is featured in Mónica de Miranda‘s exhibition Depth of Field.

Photographs by Renato Cruz Santos