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Eternally Collapsing Objects

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Eternally Collapsing Objects Walter Marchetti 8 João Ferro Martins graduated in Fine Arts at ESAD, In terram utopicam – nova musicha Pioneer PL-100 Caldas da Rainha. He lives and works in Lisbon. Eternally Collapsing Objects n.15 2020 Recent exhibitions include: condition report, 3+1 Arte Mailand, Cramps Records, 1977 3D print Photo: Giorgio Colombo, Fernando Contemporânea, Lisbon (2020) Wait, Berardo Musem, João Ferro Martins Arreche Goitosolo 9 x 41,7 x 35,4 cm Lisbon (2019); Ciclo Cosmo/Política #2 - Conflito e Sten Hanson 9 Unidade, Museum of Neo-Realism, Vila Franca de Xira Curated by Tobi Maier The Sonosopher Retrospective John Cage (2018); Germinal – O Núcleo Cabrita Reis na Coleção Mailand, Alga Marghen, 1998 Cheap imitation - nova musicha de Arte Fundação EDP, MAAT, Lisbon (2018); THEM 12 . 11 . 2020 — 24 . 01 . 2021 Cover: Sten Hanson (“a living man”) n.17 / Edition of 545 Mailand, Cramps Records, 1977 OR US! Um Projecto de Ficção Científica Social e Conversation with the artist: 14 . 11 . 2020 – 11am Ø 30 cm. 33⅓ RPM Política, Galeria Municipal do Porto, Porto (2017). (booking via: [email protected]) La Monte Young / Marian Zazeela The Theatre of Eternal Music / Photo: Rhoda Nathas, Umberto Dream House 78’17 Padroni SHANDAR/ Heiner Friedrich, 1973 Cover: Marian Zazeela 10 Mute Speakers Richard Kostelanetz 2020 The Galerias Municipais are pleased to present a Invocations 77 loudspeakers solo exhibition by Lisbon–based artist João Ferro New York, Folkways records, 1983 Variable dimensions Cover: Richard Kostelanetz / Martins (*1979, Santarém). Wandering through the Design: Ronald Clyne four galleries of Lisbon’s Pavilhão Branco and the exhibition Eternally Collapsing Objects is akin to the Ben Vautier sensation of stepping onto a stage or theatre set. Musique Total (1963) Niederlande, Slowscan editions, Eternally Collapsing Objects evokes a planetary 2001 Acknowledgements: system absorbed by black holes, humanity going to Edition of 116 Staatliche Kunstsammlungen Dresden – Archiv der glory and being reborn and thus in eternal renewal. Avantgarden, Marion Ackermann, Marcelo Rezende, Rudolf Ay-O / Emmett Williams Fischer, Julia Hollmann, Katrin Bäsig, Lisa-Marie Schrewe, Fluxus Song #2 / Meditations 1 Jonathan Debik, Mark Schreiber, Rubene Palma Ramos, Upon entering the pavilion, the spectator agrees to Niederlande, Slowscan editions, Filipe Feijão, Gonçalo Alegria, Keith Harle, Miguel Bonneville, participate in a provocative narrative that unfolds in a 2000 Moema Harle, Marisa Escaleira, Andresa Soares, Jorge circular passage. The viewers’ path through Pavilhão Photo: Dieter Schwerdtle Viegas, Nuno Barroso. Branco follows the habitual Möbius strip style visitation. Marco Bertoni / Enrico Serotti The images of devastation, circulating on news media New Machine Voice after a hurricane or tsunami hit a coastline, come Cento, 3ViTrePAIR nuova serie, to mind in the first gallery. We are confronted with a 1990 GALERIAS MUNICIPAIS – PAVILHÃO BRANCO group of objects that could have once been displayed Text: Enzo Minarelli Jardins do Museu de Lisboa in a shop front window, yet were dispensed with now. Campo Grande, 245 Meredith Monk Welcome to dystopia — elegantly orchestrated on Tuesday to Friday: 10am-1pm and 2pm-5pm Book of Days carpeted flooring and masked by curtains floating in München, ECM Records, 1990 Saturday and Sunday: 10am-noon the glass pavilion galleries. Design: Barbara Wojirsch From a workshop environment one is catapulted Weekdays by appointment 11.30am-1pm via: Edgard Varèse [email protected] to a makeshift recording studio. Looking around Deserts/Hyperprism/Intégrales/ the sculptural metaphors, the viewer is once more Density 21,5 reminded of the fact that music is not physical matter Paris, les industries musicales et www.galeriasmunicipais.pt électriques Pathe Margoni / EMI, but ephemeral. Eternally Collapsing Objects places s/ data the remnants of a whirlwind against the neatness of a Text: Georges Charbonnier bygone record industry era. The upper galleries host dozens of found loudspeakers referencing the (muted) PA system that has appeared on manifold occasions in the artists work. The vinyl records displayed in analogy indicate an allusion to sound and music, paramount 4 to the artist’s practice. The medium is nevertheless 1 7 9 10 8 mysteriously absent from this exhibition, except for the 3 5 forthcoming vinyl record publication. 2 6 For this Gesamtkunstwerk installation in Pavilhão Branco, João Ferro Martins made a selection from the collection of Staatliche Kunstsammlungen Dresden LEVEL 0 LEVEL 1 – Archiv der Avantgarden. On view is a wide array of references including vinyl record classics from the 1950s (Karlheinz Stockhausen) to the 1980s (Laurie 1 6 7 Steve Reich The Desert Music Anderson) and 90s (Meredith Monk), with Fluxus in Studio Eloise Pierre Henry Edições LP, AdA – Archiv der 2020 Le Voyage - D’ après le Livre Avantgarden, Dresden New York, Nonesuch Records/ between (Philip Corner, Ben Vautier), and sound poetry Site-specific installation des Morts Tibétain Multiple titles Warner Communications, 1985 Photo: Benno Friedman (Sten Hanson) or musique concrète (Pierre Henry), to Prospective 21° Siécle Multiple editors the also seminal I am sitting in a Room (1969) by Alvin 2 Frankreich, Philips, 1967 22 items – Ø 30 cm. 33⅓ Philip Corner Lucier, which exploits the resonant frequencies of the Karlheinz Stockhausen Ø 30 cm. 33⅓ RPM RPM Word – Voices room one is sitting in. Equally, Ferro Martins suggested Mikrophonie I - Mikrophonie II Text: Jacques Longchampt Alga Marghen, Italy, 1997 his work inspires the notion of bodies being played, Hamburg, Deutsche of bodies following his sculptural score. If Pavilhão Grammophon/Polydor From left to right: Paolo Castaldi Finale (1971-1973) – nova musicha Branco is a resonance chamber for our voices, while International, 1975 Ø 30 cm. 33⅓ RPM n.5 the artist’s sculptures provide a further annotation, Mailand, Cramps Records, 1975 Cover: Tantam (Photo: William Duckworth then the sounds of the birds nested in the surrounding Photo: Roberto Masotti Werner Scholz) The Time Curve Preludes tree crowns and the peacocks inhabiting the museum New York Lovely Music, 1983 Gyorgy Ligeti Cover: By Design. Henmar garden also contribute to the imminent sound spheres 3 Requiem/Lontano/Continuum Press. ASCAP we are encountering here. Trapped surface Studio-Reihe Neuer Musik, s/ data 2020 Jean Guillou Mainz, Wergo On the occasion of João Ferro Martins’ exhibition Enamel on glass Visions Cosmiques Cover: Günter Stiller/ Foto: Pit 230 cm (diameter) Prospective 21° Siécle Eternally Collapsing Objects, the Galerias Municipais Ludwig will publish a limited vinyl record edition featuring João Frankreich, Philips, 1969 Text: Jean Guillau Ferro Martins’ compositions. Ana Teresa Ascenção 4 Brian Eno Moog System 55 Apollo – Atmospheres & designed the publication. Laurie Anderson 2020 Soundtracks Big Science (Songs from “United London, EG Record, 1983 Stainless steel, cables and States I-IV”) João Ferro Martins Eternally Collapsing Objects Cover: Russell Mills audio plugs New York, Warner Bros. has been organized in collaboration with Staatliche Modules and support Records, 1982 Martin Davorin Jagodic Kunstsammlungen Dresden – Archiv der Avantgarden. structure Photo: Laurie Anderson and Tempo Fusioso – nova musicha James Hamilton 145,2 x 123,2 x 35,6 cm n.8 Mailaind, Cramps Records, 1975 Josef Matthias Hauer 5 Photo: Roberto Masotti Atonale Musik, (1920-1922) Untitled Berkeley, Arch Records, 1982 Alvin Lucier 2020 Cover: Sharon Till Polyester ribbon and frame I am sitting in a room 70 x 55 x 4 cm New York, Lovely Music/Vital Records, 1981 Photo: Mary Lucier / Design: Patrick Vitacco & Darlene Bruns.
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