{"id":3060,"date":"2024-08-03T19:07:59","date_gmt":"2024-08-03T10:07:59","guid":{"rendered":"https:\/\/www.the-concrete.org\/?p=3060"},"modified":"2024-08-03T19:09:43","modified_gmt":"2024-08-03T10:09:43","slug":"the-voice-of-inconstant-savage","status":"publish","type":"post","link":"https:\/\/www.the-concrete.org\/en\/work\/installation\/the-voice-of-inconstant-savage\/","title":{"rendered":"The Voice of Inconstant Savage"},"content":{"rendered":"<p>Commissioned for the Engawa \u2013 Japanese Contemporary Art Season programme organized by Calouste Gulbenkian Museum&#8217;s Modern Art Center, The Voice of Inconstant Savage is an immersive installation that superimposes a prayer inspired by the story of a 16th-century Portuguese missionary, a chant from a Kakure-Kirishitan (hidden Christians) prayer \u2013 a religion rooted in Nagasaki Prefecture \u2013, a chant from the Karawara spirits of the Aw\u00e1 indigenous people \u2013 who live in the Amazon rainforest \u2013 and a chorus of Western Gregorian chant. Morinaga questions the position of the aesthetics of inconstancy in relation to the discourse of the \u201csavage\u201d that modern society confronts.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Commissioned for the Engawa \u2013 Japanese Contemporary Art Season programme organized by Calouste Gulbenkian Museum&#8217;s Modern Art Center, The Voice of Inconstant Savage is an immersive installation that superimposes a prayer inspired by the story of a 16th-century Portuguese missionary, a chant from a Kakure-Kirishitan (hidden Christians) prayer \u2013 a religion rooted in Nagasaki Prefecture \u2013, a chant from the Karawara spirits of the Aw\u00e1 indigenous people \u2013 who live in the Amazon rainforest \u2013 and a chorus of Western Gregorian chant. Morinaga questions the position of the aesthetics of inconstancy in relation to the discourse of the \u201csavage\u201d that modern society confronts.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[14],"tags":[],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/3060"}],"collection":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/comments?post=3060"}],"version-history":[{"count":3,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/3060\/revisions"}],"predecessor-version":[{"id":3064,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/3060\/revisions\/3064"}],"wp:attachment":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/media?parent=3060"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/categories?post=3060"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/tags?post=3060"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}