The term sound art has constituted a singular topic of discussion for more than one hundred years. Given the difficulty of considering it as an artistic category separate from music (in the contemporary broad sense we have inherited from John Cage, Edgar Varèse or Charles Ives) many authors have described this concept as an entelechy, alluding to the impossibility of determining with precision its scope and significance.

However, as William Furlong has asserted, the “inability of sound to constitute on its own a distinct category within the practice of art has proven to have several advantages,” not the least of which is the lack of a solid tradition which would limit the infinite aesthetic possibilities of a medium in permanent expansion.

Factoría aims, therefore, to make the most of the intermediate nature of acoustic experimentation, striving to be a space of convergence between music, literature and visual and tactile content.

Confronting the rotundity of the plastic arts with the immateriality of sound is, without a doubt, one of the great challenges of our time and a foundational commitment of our site.