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LatAm in Focus: The Story behind Joaquín Orellana's Musical Sculptures


The Spine of Music.
Sonorimba, imbaluna, sinusoide, ululante. Joaquín Orellana’s instruments have unusual names, formed by mixing the words that describe the shape created with the sound he is seeking. The Guatemalan composer could also be considered a sculptor by those who visit the exhibition
The Spine of Music, featured at Americas Society’s through April 24. The exhibition puts Orellana’s
útiles sonoros (“sound tools”) on display and reveals the interdisciplinary nature of his work.
When he began making his instruments, Orellana was “solving a problem,” explains Diana Flatto, exhibition co-curator. During a fellowship at the preeminent Centro Latinoamericano de Estudios Musicales at the Instituto Torcuato Di Tella in Buenos Aires, the composer was heavily influenced by electronic music, then in its infancy. But when, in 1969, he returned to Guatemala, the technology to create electronic music simply did not exist there ....

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