Continuous Training Program for Artists
Sound: art and technology


The Continuing Education Program for Artists is a space for interdisciplinary reflection and creation, where artistic thought focused on contemporary production is privileged. It is a critical tool to favor the artistic processes, the analysis and discussion of projects of the participants.
For the 2019 year, giving continuity to this program, we will develop the theme Sound: art and technology, which will have four stages:

  • Training
  • Experimentation
  • Development of artistic projects
  • Final exhibition of the works.

Sound art has a brief but strong international tradition. With a background in the avant-garde of the early twentieth century and experimentation in music and visual arts in the second half of the century, his development continues with the work of conceptual art from the '60. Currently, and given the multiplicity of the disciplinary art scene, this issue has taken a new boom.
The platform of the Continuing Education Program for Artists is oriented, in this occasion, to the knowledge of the ideas, techniques and technologies necessary for the articulation of a proposal of artistic production in the field of sound art. Likewise, reference texts on the perception of sound, its role in the physical and social environment and its possibilities in the field of the production of meaning related to contemporary art will be addressed.


To make known the essential aspects of sound as a form of artistic expression that combines technology and aesthetics.
Specific objectives

  • To bring the participant to the production and creation of the sound as an aesthetic experience related to contemporary art.
  • Analyze and discuss critically the social, aesthetic, pedagogical and political implications of sound today.
  • Establish the links between the act of creating the sound phenomenon and the institutional forms of its reproduction.


1 module. Theoretical approaches to sound art: the local and the universal

  • Origins of sound art. History and influences
  • Relationship between sound and visual arts
  • Concepts of contemporary art and sound art
  • Historiographic review of sound production in the arts of the 20th century

2 module. See the sound: the staging of sound and noise

  • Listen to the place: music, sound, noise, heritage and memory
  • Sculpture and space
  • Relationship between exhibition space and sound art
  • See the sound: the staging of sound and noise

3 module. Aesthetics of sound

  • Sound in the audiovisual arts
  • The word: monologue and dialogue
  • Music: diegetic and non-diegetic
  • Noise: the sonority of things
  • Sound environments
  • The silence
  • Construction of the soundtrack
  • Sound construction exercises

4 module. Sound creation workshop
(To be developed by the invited facilitator)
5 module. Sound art as an artistic practice I
(To be developed by the invited facilitator)
6 module. Sound art as an artistic practice II
(To be developed by the invited facilitators)

Module 1.-Theoretical approach to sound art: the local and universal
Teaching hours: 12
Facilitator: Sara Hermann
Date: March 7 and 8
First session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm
Second session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm

2 module.-The spatiality and staging of the sound
Teaching hours: 12
Facilitator: Yina Jiménez Suriel
Date: March 28 and 29
First session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm
Second session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm

3 module.- Aesthetics of sound
Teaching hours: 15
Facilitator: Mario Núñez
Date: 11 and 12 for April
First session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm
Second session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm
4 module.- Sound creation workshop
Teaching hours: 12
Facilitator: Fellé Vega
Date: May 8 and 9
First session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm
Second session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm
Chat open for audiences: 7 de mayo

5 module.- Sound art as an artistic practice I
Teaching hours: 12
Facilitator: Jorge Bejarano Barco
Date: 5 and 6 for June
First session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm
Second session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm
Chat open for public: 4 for June

6 module.- Sound art as an artistic practice II
Teaching hours: 12
Facilitators: Interspecifics
Date: 3 and 4 for June
First session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm
Second session: 9: 00 am - 12: 00 pm / 2: 00 pm - 5: 00 pm
Open talk for audiences: 2 for July

1 tracking.- Curatorial follow-up
Teaching hours: 3
Curators: Sara Hermann and Yina Jiménez Suriel
Date: July 23

2 tracking.- Curatorial follow-up
Teaching hours: 3
Curators: Sara Hermann and Yina Jiménez Suriel
Date: August 20

Inauguration of the exhibition.- 26 of September


The Program will be developed during 9 months:
- The class modules will have an occurrence in person and will happen between the months of March and November. All classes will be held at Centro León.
-In addition, lectures open to the public will be held.
-The maximum number of participating artists is 15.
- Two curatorial follow-up sessions are contemplated for the projects to be carried out by the curatorial team of the institution.

The inscriptions to the Program of Continuous Formation of Artists are free. Interested persons must apply by filling out a form available in
They must also attach the following:

  • Artist portfolio
  • Letter of intent (max 500 words)

Sara Hermann
Graduated in History of Art from the University of Havana, Havana, Cuba. (1991). Today, and from 2005, she works as a Visual Arts Advisor, at the Eduardo León Jimenes Cultural Center in Santiago, Dominican Republic. Hermann. She was the Director of the Museum of Modern Art of the Dominican Republic in 2000-2004. In the field of curatorial concepts and curates exhibitions of contemporary artists working from the Caribbean, Central America and Latin America in general. His research and work interests focus on the margins of the visual arts (social and territorial) as well as the role of education, translation and mediation in the process of making the visual public. As lecturer and professor Hermann has taught History of Art and Contemporary Art at APEC University, Pedro Henríquez Ureña University of Santo Domingo; The School of Design of Altos de Chavón (affiliated to Parsons School of Design of New York) of La Romana, in the Dominican Republic. Internationally, Herman has participated in conferences at the JUMEX Foundation, Mexico City (2016); the Biennial of Mercosur, Porto Alegre, Brazil (2014); X the Havana Biennial, Havana Cuba (2009); The Institute of Visual Arts (inova) of the University of Wisconsin in Milwaukee, United States (2001); in the Ibero-American Dialogues of the Generalitat of Valencia, Spain (2001-2004); Dominican Studies Center of the City University of New York, CUNY (2004). He has talked about issues concerning contemporary art in art fairs such as: ArteBA, Buenos Aires, Argentina; Zona Maco, Mexico City Mexico (2016); Art Basel Conversations, Basel, Switzerland (2015); ArtBo, Bogotá, Colombia (2013-2016); ARCO, Madrid, Spain (2004-2012). His curatorial work has been developed in exhibitions both in the Dominican Republic and internationally.
Yina Jiménez Suriel
Dominican architect and curator, master's degree in History of Art and Visual Culture, focus on visual studies at the Universitat de València, Spain. He participated in the first version of the Curando Caribe Program managed by Centro León and Cultural Center of Spain in Santo Domingo. Founder at 2015 of Locus_colectivo whose objective is to promote the participatory design of Dominican cities, through which she has managed two Dispatchwork interventions in the country. She is a contributor to the Dominican architecture magazine, Arquitexto, with whom she is currently developing a research on architecture and gender perspective, in collaboration with the Universitat Politècnica de València. In 2016, he was part of the curatorial team for the 26 Eduardo León Jimenes Art Contest; He developed the sound art curatorial project Listen and Draw in the gallery Casa Quién. His master's thesis' The glass cavaletes of Lina Bo Bardi. Deletion of the genre in the exhibition space was included in the 2do Dearq International Symposium of the Universidad de los Andes, Bogotá, Colombia. As part of the master's program, he did professional internships in the curatorial department of the Museum of Modern Art of Medellin for a period of 6 months. In 2018 it is selected by the magazine Arquitexto as one of the 22 emerging architects of the Dominican Republic; He was part of the teaching team of the Contemporary Art Diploma: creation and management of the School of Design Altos de Chavón. He participated as a panelist in the Symposium Dimension Desconocida of the XVI Regional Salon of Artists, Barranquilla, Colombia. She is currently Coordinator of Visual Arts and Exhibitions at the León Center.
Mario Núñez Muñoz
Audiovisual Communicator with mention in cinematographic realization and Master's studies in Social Communication. He currently serves as General Coordinator of Communication and Marketing at the León Center in Santiago de los Caballeros. He has been a consultant on communication issues for public and private institutions and companies. In the academic area he has worked as Professor of Communication, Cinema and Audiovisual Arts in Universities and Institutes in Chile and the Dominican Republic. In Chile he was Director of the Cinema Program of the Pontificia Universidad Católica de Chile, CINEUC and Director of Artistic Programs of Cinema, Theater and Music of the Extension Center of the Pontificia Universidad Católica de Chile. In the Dominican Republic he has worked as Director and Producer in communication companies such as Grupo Omnimedia, Telecable de Tricom, Antena Latina and Diario Libre, where he held various positions. He was Managing Director of the Spanish company EUROCOM Broadcast for the Caribbean and Central America region, with which he developed television technology projects in Panama, Costa Rica, Honduras and the Dominican Republic. He was a film critic of the newspaper Diario Libre since its foundation and has published articles in the Global magazines of FUNGLODE and interviews in Styles of Diario Libre, among others. In the audiovisual area, he has been the executive producer and producer of commercials, documentaries and fiction short films. He is a composer, performer and instrumentalist of popular music, with experience in the production of jingles.
Fellé Vega
Percussionist, composer, inventor and designer of Dominican instruments. In his professional career over 30 years he has performed in renowned spaces of the national and international music scene and directed several musical groups. Fellé is the musical director of the world jazz and music group Orquesta de las Danzas Mezcladas, and member of the percussion quintet, Leather, Wood and Metal, as well as the musical coordinator of the Palafitos Jazz Festival in Moca.
Fellé designs and manufactures percussion instruments under his own brand, Tokit, for which he uses wood and recyclable materials. The percussion instruments called Boombaquin (percussion box), Tata, Gargaritas, Gayumba, Cuadrangarang and Tambiro are some of his creations. The Boombakini was designed by Fellé at the beginning of the 1990 decade and has been played by several Dominican and international musicians. This is the first Dominican instrument that has been patented. The León Center houses within its ethnographic collection a copy donated by the artist.

Jorge Bejarano Boat
Artist and cultural producer based in Medellín, Colombia. He researches the sound world from a transdisciplinary approach that involves the Noise, the technology and critical tactics of reflection on technologies. Build projects, sound artifacts and explore their performative possibilities. He has carried out artistic projects and sound actions in several European and Latin American venues, among others, the National Center of Arts Mexico DF, the Museum of Contemporary Art of Castilla y León MUSAC, and MediaLab Prado. Active promoter of the emerging scene of sound art and experimental laboratories in Medellín.
He currently works as a curator of special projects at the Museum of Modern Art in Medellín where he directs the Sound Experimentation Room [Lab3], and promotes Edunoise; an area of ​​research on listening, sound experimentation and education made up of agents from Colombia and Spain.
Multinational nomad collective and independent artistic research office founded in Mexico City at 2013. His current research focuses on the use of sound and artificial intelligence to understand the bioelectrical and chemical signals of different living organisms and their geometric patterns as a non-human form of communication. For this purpose, they have developed a collection of experimental research and educational tools called Ontological Machines. His work is deeply shaped by the Latin American context where precariousness allows new forms of creativity and old technologies find avant-garde production forms.
His work has been supported by the International Cities for Advanced Sound, the Alameda Art Laboratory, the Telefónica Foundation, the Bancomer BBVA Foundation, the Alumnos47 Foundation and the National Fund for Culture and the Arts (Mexico). Bauhaus-Universität Weimar and Universitat der Kunste Berlin (Germany). Museum of Modern Art of Medellín, Platohedro and Explora (Colombia). National Council for Culture and the Arts and Museum of Contemporary Art (Chile) and presented at FACT Liverpool, European Congress of Artificial Intelligence in York, Spektrum, Acud Macht Neu, CTM Festival and CLB in Berlin, ICAS Festival in Dresden, TJINCHINA in Tijuana, Casa del Lago, Cultural Center of Spain, INDEX in the University Museum of Contemporary Art, Tamayo Museum and Mutek_ MX (Mexico). Awarded by the Waag Society Amsterdam in its latest edition of HacktheBrain.
Members: Leslie García, Paloma López
Collaborators: Emmanuel Anguiano, Felipe Rebolledo, Thiago Hersan.