Llull Machines is an art group, consisting of painter Danil Gertman (based in New York) and musician Grundik Kasyansky (based in London). We create live performances and installations with projections of live animated digital drawings and live electronic music. In our collaborative work we take our respective media – fine arts and electronic music – and try to completely dissolve the borders between them. This process is intuitive and refined by years of collective practice and reflection. The appearing audio-visual body is ephemeral in nature, but its presence is vivid. 

 In March 2020 we found ourselves quarantined. Thanks to the current state of technology we were able to continue our work together by means of video calls. These online sessions developed into broadcasts – transmissions of live performances. Each session was consciously unplanned, improvised. It directly reflects our current state of mind, ideas, feelings, fears, snippets of memories, recollections of dreams. Thus, these broadcasts turn into a kind of surrealist diary, the chronicles of the unconscious during the weird days of the Covid 19 pandemic. In “Chronicles of the Weird Sundays” video and audio of the two separate remote audio-visual sessions are played simultaneously. Audio and video in each recording are synchronised to reflect the actual live performance, no additional edits and overdubs are done. The recording of the 24th May session is on the left side of the screen and the left speaker, the recording of the 31st May session is on the right side of the screen and the right speaker. 

One of the main principles of our collaborative work is to maintain the unity of time and space between visuals and sound. They should be created together simultaneously as a single multidimensional audio-visual body. In our remote sessions this principle is compromised – the time remains unified, but the locations are separated: Danil is in New York, and Grundik is in London. By playing two recordings together, we come close to the original principle, in fact, we are doubling it. Now the multidimensional audio-visual body is created simultaneously in two locations during two timelines. Paradoxically, this situation, which is impossible to recreate in real time, becomes a truer representation of the live performance.


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