Exhibition from 8.03 to 7.07.2019 【EN】 Sounding new, 8 March– Museum open Wednesdays sound works 7 July 2019 to Sundays 【11am-6pm】 from the collection

EVENTS LINKED TO THE EXHIBITION GUIDED VISITS FOR ALL “Secrets d’exposition”, with Hervé Percebois, –In one hour ● Fridays 【12:30pm】 head of the collection –In 90 minutes Floor 1 ● Friday 6 June 【12:30pm】 ● Saturdays and Sundays 【3:30pm】 Extra sessions during the holidays: 17, 18, 19, 24, 25 and 26 April 【2:30pm】 With works by: Laurie Anderson, In 2018, with funding from the public, macLYON –Lazy morning visit, with a free coffee George Brecht, Philip Corner, Molly Davies, acquired a magnificent sound work by David at the museum café ● Sundays 【12:30pm】 Morton Feldman, Anna Halprin, Joe Jones, Tudor and Composers Inside Electronics: –Visites théma ● Sundays 【11:15am】 Allan Kaprow, Alvin Lucier, George Maciunas, Rainforest V (Variation 4), 1973-2017. The work, Peter Moore, Nam June Paik, Terry Riley, which has now been installed for the first time FOR FAMILIES ONLY David Tudor & Composers Inside Electronics, in this version at macLYON, is the centrepiece –Family visits from 6 years old Stephen Vitiello, La Monte Young et Marian of the exhibition Sounding New, which presents ● Sundays 【3pm】 Zazeela a selection of works from the collection that Extra sessions during the holidays: 24, 25 explore the links between experimental music and 26 April 【2:30pm】 and the visual arts. –For the little ones (4-6 years old), ● Sundays 【11:15am】 Extra sessions during the holidays: 17, 18, 19, 24, Take a look behind the scenes– 25 and 26 April explore our reserves by downloading the app –Petit Labo studio visit from 6 to 11 years old “macLYON: la collection” available ● Saturdays 【3:30pm】 on App Store and Google Play (except on Saturday 23 March and Saturday 18 May) Extra sessions during the holidays: 17, 18 and 19 April 【2:30pm】

Visits and studio sessions available from the online ticket office: mac-lyon.tickeasy.com

A full, detailed programme GROUP VISITS is available at the museum New ways to find out about contemporary art reception desk. (in French): Visite Cosy, Easy, Arty. Guided visits in English can be reserved by telephone. Information and reservations from “Service des Publics”

INFORMATION AND RESERVATIONS Service des publics COMING SOON T 04 72 69 17 19 Là où les eaux se mêlent [email protected] 15e Biennale de Lyon www.mac-lyon.com From 18.09.2019 to 05.01.2020

David Tudor & Composers Inside Electronics, Rainforest V (Variation 2), 2015 Exhibition: Biennale d’art contemporain 2017, macLYON © Photo : macLYON From 1950 to 1960, John Cage taught at the (West German Television), he exhibited his EXHIBITION MAP New School for Social Research in New York. thirteen modified TV sets. He was increasingly ELEVATORS His experimental composition class shaped attracted to video and, with support from Bell a generation of artists who, in their urge Telephone Laboratories, Inc. (aka Bell Labs), to do something new, were keen to break created experiments using the electronic → ROOM 1 ROOM 3 → away from artistic forms they considered too signals inside the TV sets. L. ANDERSON ROOM 2 A. LUCIER T conventional. Cage promoted the principle G. BRECHT M. DAVIES O of indeterminacy, an approach to musical ROOM 2 P. CORNER I composition in which certain parameters In 1994, MOLLY DAVIES created a portrait J. JONES L E of the work are left open to chance or for of David Tudor in a video installation involving A. KAPROW T the performer to decide. six films. She captured him at work in G. MACIUNAS ROOM 4 S His students, who came from a wide rehearsal and performance as he practised P. MOORE L.M. YOUNG range of artistic backgrounds, extended his contribution to John Cage and Merce N.J. PAIK & M. ZAZEELA the principle to their own practices, creating Cunnigham’s work, Ocean, 1990-1991; she then L.M. YOUNG a host of exciting new artistic movements. filmed the three performances given by the Minimal music, Fluxus, minimal art, conceptual Merce Cunningham Company in Amsterdam. art, postmodern dance, happenings and performances were all part of the new ROOM 3 ROOM 6 environment. These artists’ interest in ALVIN LUCIER’s interest in the propagation D. TUDOR technology opened up new fields such of sound in space and its acoustic effects & COMPOSERS as video art and electronic and digital music, led him to focus on the relationships between INSIDE and provided bedrock on which contemporary cause and effect, as the process often reveals ROOM 7 ELECTRONICS ROOM 5 creation has developed. sound in a visual way. In Empty Vessels, 1997, M. FELDMAN T. RILEY These cross-fertilisations, encounters the sound picked up by microphones in empty S. VITIELLO A. HALPRIN and experiments become apparent in this vases generates a chord that is modulated exhibition centred around Rainforest (V) by the presence of the spectators. Variation 4. ROOM 4 ROOM 1 After studying in Los Angeles, LA MONTE With works by Laurie Anderson, George YOUNG developed a different vision of music, Brecht, Philip Corner, Joe Jones, Allan Kaprow, focusing on duration and just intonation. gestures like moving things, eating, or climbing INSIDE ELECTRONICS and recreated the work La Monte Young, George Maciunas, Peter He designed a whole environment in which a ladder and turning them into choreographic under the title Rainforest IV. Moore, Nam June Paik. he lived and worked continuously. With movements, thus closing the gap between Since the death of David Tudor, John Driscoll LAURIE ANDERSON has been doing MARIAN ZAZEELA, he developed this prototype art and life. has performed the installation versions of performance art since the 1970s in New York. of the Dream Houses, an installation in which During their collaboration with Anna Halprin, Rainforest V with Composers Inside Electronics. For her experimental compositions she created a sound can be played endlessly. Sound With/ La Monte Young and Terry Riley composed instruments such as an electrified bow and In, acquired in 2013, is a domestic Dream House pieces that are now considered to have been ROOM 7 a violin with a magnetic audiotape playback created in 1989; it reflects one of La Monte the beginning of minimal music. Riley’s Mescalin STEPHEN VITIELLO, a visual and sound head. For Handphone Table (1978) she located Young’s constant concerns: how to place Mix, which he began composing in 1960 and artist who has collaborated with Nam June the sound inside a table. Sitting at the table the listener inside the sound. which Anna Halprin used for The Four Legged Paik among others, has a special interest with their hands over their ears, listeners Stool, is based on sound loops on audio tapes. in ready-made sounds directly captured hear the sound through their body. ROOM 5 from nature. In World Trade Center Recording: GEORGE BRECHT started writing event- It was TERRY RILEY’s In C (1964) that ROOM 6 Winds after Hurricane Floyd, 1999 - 2002, scores in 1957. They are short verbal scores popularised the compositional principles Virtuoso pianist, DAVID TUDOR became he used the sound system pioneered by that he collected together in 1963 in Water Yam. of indeterminacy and repetitiveness. In 1967, the regular musician for New York composers Alvin Lucier (ROOM 3), amplifying it to capture An event-score can be understood as a way he created Time Lag Accumulator. This octagonal such as John Cage, Morton Feldman, the sounds produced by the effect of the wind of capturing an event from everyday life. When piece in eight rooms is based on delay effects. Earl Brown and Christian Wolff. In 1965, on that now-vanished building’s structure. it is turned into a score, it can be replayed A first tape recorder records the ambient he began working on loudspeaker resonance MORTON FELDMAN, a musician close leaving space for chance and indeterminacy. sound in one of the rooms; this recording and collaborated with engineers at the Bell to John Cage and David Tudor, was an early The happening, which was invented by is played back a moment later in another Telephone Laboratories. He drew on this believer in indeterminacy in his compositions ALLAN KAPROW in 1958, differs from an event room. In 2003, the composer reinterpreted experience in 1968, when he created Rainforest and invented new forms of musical notation. in that it cannot be reproduced. In How to make the principle digitally with Time Lag for a ballet by Merce Cunningham. The thirty Anecdotes and Drawings are a happening (1966), Kaprow describes some Acumulator II, which was acquired by macLYON. In the summer of 1973, John Driscoll improvisations around the concept of scale, of the conditions necessary for this art form ANNA HALPRIN developed an approach and Phil Edelstein along with David Tudor a notion that concerns both painting and sound, to exist. to dance based on the dancer being attentive presented a spatial interpretation of Rainforest: and which has a considerable influence In 1957, NAM JUNE PAIK went to Karlheinz to their perceptions of their body in movement. a number of ready-made objects and objects on the duration of his musical pieces. Stockhausen’s classes at Darmstadt. In 1963, In 1962, she introduced the notion of “task” made by the participants were hung in the after a spell working in the studios of WDR which consisted in taking commonplace space. The group took the name COMPOSERS Translation: Jeremy Harrison