Silart.
Who we are
Silart.
Silart is an artistic project based on interdisciplinary creation started from music which advocates for social transformation. Silart work is developed on four central axes: a specific social problem, research, dissemination and creative activity amon various artistic disciplines.
Its members and founders, María Muros, Celia Torres and Iratxe Ibaibarriaga are three performers from a classical background who are willing to open different paths to find new forms of expression. Silart was born from their ambition for social transformation and the belief that art seeks to externalize feelings and internal inmaterial thoughts that can be transformed into audible and visual concepts.
Finished the two last years of her Saxophone Professional Degree with the Extraordinary End of Degree Award at CIEM Federico Moreno Torroba (Madrid, Spain). She began her Saxophone Bachelor at the Conservatorio Superior de Música de Castilla y León in Salamanca (Spain) in the saxophone class of Ángel Soria. Celia completed the last year of her Saxophone Bachelor at the Conservatorio Superior de Música de Navarra in Pamplona (Spain) under the teaching of Ángel Soria and Nahikari Olóriz. She has also received masterclasses from many renowned saxophone teachers such as Vincent David, Marcus Weiss, Arno Bornkamp, Marie Bernardette Charrier, Andrés Gomis, Lars Niedestrasser, Mariano García, Nacho Gascón, Antonio García Jorge or Christoph Grèzes. Since 2016, Celia has been part of the Chemin d’èclat Saxophone Quartet and the 2.13 SAX Saxophone Ensemble, with which has performed contemporary repertoire in different cities of Spain and also at the 18th World Saxophone Congress in Zagreb (Croatia). In the summer of 2020 Celia won the "Ramón Guzmán" saxophone competition. She is also a member of the group Eunoia, dedicated to creating social and artistic projects in the future. Currently, Celia studies her Master of Arts in Music Performance at the Zürcher Hochschule der Künste in the class of Lars Mlekusch.
She studied her Flute Professional Degree in Jerez de la Frontera at CPM Joaquín Villatorio. María was admitted in Álvarez Beigbeder Orchestra with which collaborates in numerous concerts and international meetings in the city of Pons (France) until 2016. She began her Flute Bachelor at the Conservatorio Superior de Música de Castilla y León in Salamanca (Spain) in the flute class of Pablo Sagredo. She completed her last year of Flute Bachelor at the Prins Claus Conservatorium in Groningenn (The Netherlands) under the teaching of Egbert Jan Louwerse. During these years María participated in various orchestral meetings under the conduction of Jaap Ter Linder, Miguel Guerra and Javier Castro. She played as a soloist in the Baroque Orchestra Project at Conservatorio Superior de Música de Castilla y León in April 2018 directed by Pedro Gandía. She has been taught in chamber music by the renowned musician Brenno Ambrossini. She also received masterclasses from many distinguished flute teachers such as Wendela Van Swol, Berten D’Hollander, Vicens Prats, Aldo Baerten, Carmen Ferreiro or Andrea Oliva. She has worked as a substitute music teacher at the Montessori school in Salamanca (Spain) with students from 3 to 12 years old. Furthermore, she has been teaching private lessons since today. At this moment, María is studying a Master of Musictherapie at the Internet University (UNIR). She is also a member of the Eunoia group with a view to create some projects in the future.
She began her Violoncello Bachelor at the Coscyl (Spain), she continue her third year at the Koninklijk Conservatorium from Den Haag (The Neatherlands) with for a Erasmus+ OLS program in the violoncello class of Lucia Swart. At the Royal Conservatorium she was part of the Institute of Sonology, in live electronics department. Iratxe is completing the last year of her bachelor at the Royal Conservatory Antwerp (Belgium) under the teaching of Olsi Leka and Ivo Venkov. During 2015 she collaborated with the BOS (Bilbao Symphony Orchestra), but also as a violoncello soloist in the recording of the film: “2TonPAIJUPeak”; with WOP Foundation. She is a founding member of the Ensemble Collider, with whom she records a CD: Acoustic Soundscapes. From 2017-2018 was part of the “Entschlössen Quartet” where they toured in Spain and Moscow (Russia), collaborating with “A.Schnittke Moscow State Institute of Music”. During 2019 she works with the graphic designer Eva Horvath, for KABK (The Netherlands). Since 2018, she is part from the OSJG (Galicia, Spain). In 2019, she participated in the Al Bustan International Festival of Music and performance Arts; in Beirut (Lebannon) and she was also part of the international Festival Castelcello in Brunnenburg (Italy). During last year she participate in “Articulate” festival in Antwerpen (Belgium) and “Noorderlich” festival in Antwerpen (Belgium). Over the past year, she has been doing an internship together with the Belgian KunstZ Organization.
What is Silart?
The preconceived idea of current genius consists in a cult of the white-male hero to whom such traits are linked almost without even thinking. This is a problem for future generations. A static model for society that remains intact over several centuries serves as a reference and model for society and unconsciously limits all those people who are not reflected in that prototype. So it marks in various ways the individual goals that you “must” follow from them.
This exclusion that occurs naturally and silently supposes a notorious loss in the richness and development of our culture since talents and abilities of many diverse personalities never surface. In art as in other specialities, it is not worng to detail that the presence of women through our history is less notorious in a few exceptional cases. Did women of the past not write, paint or compose music?
Nowadays, we can affirm with certainty that the fullness of women’s art and literature did not begin in the second half of the 20th century but rather beofre that moment. In words of Ángeles Caso: “There were not only some withered petals of delicate porcelain roses…” there were many, many female artists.
Could the genius profile simply develop to include a wider range of personalities and faces?