DOCSLIB.ORG

Aa Sschmmettrroossppecctivve Charlemagne Palestine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aa Sschmmettrroossppecctivve Charlemagne Palestine Aa Sschmmettrroossppecctivve Charlemagne Palestine Subtitle ― Artist(s) Charlemagne Palestine Authors Michel Baudson, Xavier Garcia Bardón Exhibitions ‘Aa Sschmmettrroossppecctivve’, BOZAR, Brussels, 18 May 2018 - 26 August 2018 en 1000 pictures and documents from the work and life of ISBN 978 94 9232 186 2 Charlemagne Palestine explode from the pages of the Release May 2018 book, superimposed in ‘strumming’ layers, weaving the Imprint MER. Paper Kunsthalle & historical & present, works & performance, private & public BOZAR Books into a tightly knit sschmmettrroobookk. Texts by Michel Language(s) EN Baudson and Xavier Garcia Bardón. Format 30 cm × 30 cm Volume 132 pages Cover Softcover Illustrations CMYK + B&W Design Studio Luc Derycke Retail €35.00 Printrun 500 + 32 22 (0) 9 329 31 Pauline Scharmann [email protected] L, 9000 Ghent, Belgium MER. Paper Kunsthalle Burgstraat 18 www.merpaperkunsthalle.org MER. Aa Sschmmettrroossppecctivve CharlemagneCharlemagne Palestine’s Palestine’s Bear Bear Mitzvah Mitzvah in in Meshugahland Meshugahland, ,The The Jewish Jewish Museum, Museum, New New York, York, NY, NY, 3 3 March March –– 66 AugustAugust 20172017 in the Henry LeLe BœufBœuf Hall,Hall, asas initiallyinitially Palestine atat thethe startstart ofof the 1970s,the 1970s, as as fashionfashion – – that that he he had had long long since since art,art, which which he he recently recently described, described, not not proposed, sprang from this same shownshown atat thethe CentreCentre forfor FineFine Arts,Arts, andand “turned“turned [his] [his] back back on on the the minimalist minimalist withoutwithout a a sense sense of of humour, humour, as as “Gesa “Gesa-- THETHE JOYOUSJOYOUS RE-ENTRY preference, since it reminded him of inin otherother momentsmoments ofof thethe researchresearch hehe climateclimate and and the the reductive reductive currents” currents” mmttkkunsttMeshuggahhLaandttttt”.mmttkkunsttMeshuggahhLaandttttt”. the raw rooms of CalArts. InIn contrastcontrast toto developeddeveloped inin thethe UnitedUnited StatesStates andand thatthat were were in in vogue vogue during during his his early early TheThe diverse diverse range range of of ways ways in in which which it it his performance of Strumming Music,, Europe, highlightshighlights thethe mixmix ofof soundsound performativeperformative years. years. Since Since then, then, the the isis possible possible to to perceive perceive the the multidimen multidimen-- OF CHARLEMAGNECHARLEMAGNE his body was here his only instrument, andand spacespace thatthat willwill continuecontinue toto prepre-- accumulationaccumulation of of his his musical musical and and spa spa-- sionalsional spaces spaces he he sets sets into into motion motion calls calls a body moving, whooping, and rushing vailvail asas aa formform ofof Gesamtkunstwerk Gesamtkunstwerk in in tialtial research, research, as as well well as as his his taste taste for for uponupon all all of of our our senses senses in in a a random random in its hectic race,race, emittingemitting itsits longlong crycry hishis artisticartistic career.career. TheThe obviousobvious linkslinks shimmeringshimmering colours colours and and soft soft materi materi-- fashion,fashion, according according to to the the free free move move-- PALESTINE PALESTINE AT THE from one wall to another, andand violentlyviolently betweenbetween volumesvolumes ofof soundsound andand movemove-- als,als, and and the the flaunting flaunting of of his his collections collections mentment of of the the visitors visitors who who are are confront confront-- colliding, the voice suddenly cut off by ment in space, with pressures andand ofof fetishes fetishes and and stuffed stuffed animals, animals, have have eded with with the the sonic, sonic, spatial, spatial, luminous, luminous, the muffled resonance ofof thethe full-onfull-on tensionstensions risingrising toto anan extremeextreme beforebefore comecome to to testify, testify, in in a a quasi-exponen quasi-exponen-- tactile,tactile, and and always always playful playful diversity diversity CENTRECENTRE FOR FINE ARTS impact, before runningrunning straightstraight toto-- finallyfinally resolvingresolving toto totaltotal calmness,calmness, andand tialtial way, way, to to his his most most intimate intimate being being thatthat the the magic magic of of his his liberating liberating carnival carnival FFFFOOOOFFFFOOOO RRRR RRRR TTTTYYYY TTTTYYYY FFFF FFFFOO OO OO OUUUU OUUUU R R RRR RRR YEARS YEARS AFTER! AFTER! ward another wall, and amplifying its hishis successivesuccessive phasesphases ofof introspectionintrospection –– like like a a “mixed-up” “mixed-up” or or “Crazy “Crazy Mixed” Mixed” offersoffers to to everyone everyone in in such such abundance. abundance. cry until the next collision, and so on, and externalization confirm his perma- self-portrait (to use his own terms) in The collection of stuffed toys, the —— MICHEL MICHEL BAUDSON BAUDSON cry until the next collision, and so on, and externalization confirm his perma- self-portrait (to use his own terms) in The collection of stuffed toys, the without respite, until finally collapsing nentnent strivingstriving toto gogo beyondbeyond hishis limits,limits, aa constant constant state state of of amplification. amplification. shimmeringshimmering suppleness suppleness of of the the fab fab-- to the ground, where stillnessstillness broughtbrought while reminding us ofof hishis constant,constant, TheThe current current exhibition exhibition confirms confirms rics,rics, the the brilliance brilliance of of the the colours, colours, and and InIn October 1974, October 1974, a concert-perfor a concert-perfor-- thethe rhythm, rhythm, that that I and I and the the assembled assembled silence. allusiveallusive memorymemory ofof hishis childhood.childhood. bothboth the the continuity continuity and and the the vitality vitality thethe acoustic acoustic amplitude amplitude of of the the music music mancemance of of Charlemagne Charlemagne Palestine’s Palestine’s massmass of of the the audience audience in in the the stands stands of of The conjunction of this duality in As he asserts,asserts, hehe isis aa fullyfully “max“max-- ofof his his all-embracing all-embracing concept concept of of an an areare not not set set up up simply simply as as some some kind kind of of StrummingStrumming Music Music took took place place in in thethe hall hall and and the the upper upper gallery gallery encircling encircling the artistic production ofof CharlemagneCharlemagne imalist”imalist” artist,artist, repeatingrepeating –– inin livelylively exhibitionexhibition conceived conceived as as a a total total work work of of extraordinaryextraordinary baroque baroque fantasy. fantasy. These These thethe Centre Centre for for Fine Fine Arts, Arts, Brussels. Brussels. itsits centre centre began began to to understand understand his his OrganizedOrganized on on the the initiative initiative of of Karel Karel needneed for for the the instrument instrument to to be be “Impe “Impe-- Geirlandt,Geirlandt, the the Director Director of of the the Société Société rial”.rial”. The The constant constant amplification amplification of of the the desdes Expositions, Expositions, the the event event was was staged staged pianopiano notes notes spreading spreading relentlessly relentlessly AA inin the the big big Animation Animation Hall, Hall, as as the the Horta Horta throughoutthroughout the the vast vast space space of of the the great great AA HallHall was was called called in in the 1970s, the 1970s, and and like like a a hallhall and and the the extraordinary extraordinary way way that that culturalcultural thunderbolt thunderbolt that that continues continues to to theirtheir volume volume was was developing developing produced produced SS S resonateresonate within, within, it it was was to to live live on on in in the the thethe sensation sensation of of being being swept swept away away in in a a S C memorymemory of of all all those those who who were were lucky lucky whirlwind,whirlwind, as as if if we we were were at at the the centre centre C H enoughenough to to attend. attend. Karel Karel Geirlandt Geirlandt had had ofof a a cyclotron, cyclotron, or or an an (auditory) (auditory) particle particle H M putput me me in in charge charge of of preparing preparing and and accelerator.accelerator. M M coordinatingcoordinating the the event, event, whose whose suc suc-- TheThe repetitive repetitive mastery mastery of of his his M performance at the Centre for Fine Arts, Fine for Brussels, 1974 Centre the performance at EE Arts, Fine for Brussels, 1974 the Centre performance at cesscess depended depended on on being being able able to to rent rent fingeringfingering and and the the power power of of his his strokes strokes TT anan Imperial Imperial concert concert piano, piano, as as created created hadhad caused caused all all the the strings strings of of the the piano piano TT byby the the famous famous Viennese Viennese piano piano mak mak-- toto resonate, resonate, continuously continuously vibrating vibrating RR ers,ers, Bösendorfer, Bösendorfer, in 1909. in 1909. Originally Originally beneathbeneath the the vigorous vigorous pulsing pulsing of of the the RR made for the pianist and composer, bass frequencies, but in a way that was made for the pianist and composer, bass frequencies, but in a way that was OO Busoni,Busoni, the the Imperial Imperial is is a a particularly particularly alsoalso sustained, sustained, like like the the effect effect achieved achieved OO Music Strumming
Load more

Recommended publications
  • Microsoft Outlook
    Dave M. Peck From: Squidco <[email protected]> Sent: Thursday, September 14, 2017 10:11 AM To: Dave M. Peck Subject: SQUIDCO Email Update September 14, 2017 UPDATE September 14, 2017 We wanted to make a new art— new expressions of art— in an art world that was, for us, traditional." —Herman Nitsch Essential Labels Alga Marghen KARLRECORDS Art Yard Matchless Clang Mikroton Recordings Confront Room40 Creative Sources Someone Good / Room40 Discus Taping Policies Evil Clown Trost Records Fragment Factory Wide Hive Holidays Records Creative Artists 1 • Abecassis, Eryck / Francisco Meirino • Derek Bailey / Mick Beck / Paul Hession • Borbetomagus • Tony Buck • Deep Tide Quartet (Archer / Macari / Cole / Shaw) • The Elks (Fagaschinski/Allbee/Roisz/Zapparoli) • Georg Graewe / Mark Sanders • Haco • Junk & The Beast (Petr Vrba / Veronika Mayer) • Alice Kemp • Leap of Faith • Kurt Liedwart • Roscoe Mitchell • Dafna Naphtali / Gordon Beeferman • Hermann Nitsch • Orfeo 5 (Blezard/Bourne/Jafrate w/ Prince/Oliver/Kane) • Charlemagne Palestine • Pat Patrick And The Baritone Saxophone Retinue • Massimo Pupillo / Alexandre Babel / Caspar Brotzmann • Ernesto Rodrigues / Ulrike Brand / Olaf Rupp • Sakata / Mota / Di Domenico / Calleja • Udo Schindler • String Theory [Boston, USA] • String Theory [PORTUGAL] • Eckard Vossas 4 (Vossas / Fields / Henkel / Nabatov) • Christian Wolfarth / Jason Kahn • Christian Wolff / Eddie Prevost • Nate Wooley / Daniele Martini / Joao Lobo • Zeitkratzer / Svetlana Spajic/Dragana Tomic/Obrad Milic • Zeitkratzer + Elliott Sharp Jazz & Improvisation Bailey, Derek / Mick Beck / Paul Hession: Meanwhile, Back In Sheffield... (Discus) Free improvising guitar legend Derek Bailey was invited to perform in his home town of Sheffield, England in 2004 with the trio of Mick Beck on tenor sax, bassoon, and whistles, and Paul Hession on drums, Bailey's first visit in many years, and a joyful occasion as the collective group explores a wide range of approaches to creating instant compositions.
    [Show full text]
  • Lucie Vítková (1985, Boskovice, CZ); +1 347 967 2997; [email protected];
    Lucie Vítková (1985, Boskovice, CZ); +1 347 967 2997; [email protected]; http://www.vitkovalucie.com. I am a composer, performer and improviser of accordion, harmonica, voice and dance from the Czech Republic. My work pursues two lines of enquiry: my compositional practice focuses on sonification (compositions based on abstract models derived from physical objects), while my improvisational practice explores characteristics of discrete spaces through the interaction between sound and movement. Recently, I have become particularly interested in the question of social relationships in music and their implications for the structural organization of musical pieces. I explore this theme in all aspects of my work. Education: [2013-present] Janacek Academy of Music and Performing Arts Brno (JAMU Brno), CZ: Doctorate in composition and music theory (Ph.D.) with Peter Graham; in the academic year 2014/2015 recipient of Nadace Český hudební fond scholarship. [1/2016-1/2017] Columbia University NYC, USA: Visiting scholar with Prof. George E. Lewis. [2/2015-12/2015] Universität der Künste Berlin, DE: Recipient of Erasmus Scholarship for studies in composition and music theory with Marc Sabat. [9/2014-1/2015] Universität der Künste Berlin: Recipient of DAAD scholarship (Deutscher Akademischer Austausch Dienst). [2011-13] JAMU Brno: Master’s Degree (MgA.) in composition with Martin Smolka and Peter Graham, including the following international exchanges: [2011-12] Royal Conservatoire The Hague, NL: Recipient of Erasmus Scholarship for studies in composition with Martijn Padding, Cornelis de Bondt, Gilius van Bergeijk and Yannis Kyriakides, and in sonology (a subset of sound studies) with Paul Berg, Joel Ryan, Peter Pabon, Richard Barrett and Kees Tazelaar.
    [Show full text]
  • The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES ....................................................................................................................
    [Show full text]
  • Charlemagne Palestine 17 Mai – 19 Novembre 2017
    Dossier Exposition mahj.org de presse Charlemagne Palestine 17 mai – 19 novembre 2017 © Charlemagne Palestine Charlemagne Palestine 17 mai – 19 novembre 2017 Sculptures, peintures, installations visuelles et sonores, films et concerts... Charlemagne Palestine investit le mahJ à l’occasion d’une exposition personnelle, première du genre dans un musée français. Dans les écuries de l'hôtel de Saint-Aignan, il déploie une installation qui mêle œuvres historiques et nouvelles productions, faisant évoluer le visiteur au cœur de son univers foisonnant, où les peluches tiennent un rôle de premier ordre. Né à Brooklyn en 1947 sous le nom de Chaim Moshe Palestine, il rejoint, enfant, la chorale juive de Stanley Sapir pour atténuer par le chant les effets de son bégaiement. Élevé dans une famille originaire d’Odessa, il est partagé entre une éducation traditionnelle et son goût pour les formes artistiques expérimentales. Dès les années 1960, il évolue aux côtés de nombreuses figures de l'avant-garde new-yorkaise, dont La Monte Young, Terry Riley ou John Cage. Sa pratique du chant, du carillon, de l’orgue puis du piano lui permet de développer, à partir des années 1970, une relation physique et vibratoire à l’espace, à son corps et à ceux de l’auditoire. Ses performances s’adaptent aux contextes et aux instruments qu’il utilise, engendrant un dialogue avec les lieux qui le reçoivent. La dimension totale de sa démarche est à l’image des peluches qu’il recueille et expose : public idéal, totems, communauté choyée et perdue qu’il cherche à reconstruire, elles concrétisent aussi le caractère animiste de son œuvre.
    [Show full text]
  • DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
    05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Bik Van Der Pol Charlemagne Palestine
    FEATURES BIK VAN DER POL X CHARLEMAGNE PALESTINE BIK VAN DER POL X CHARLEMAGNE PALESTINE De eigenzinnige kunstenaar, CHARLEMAGNE PALESTINE Josine van Droffelaar, who was componist en performer Charlemagne Palestine (in 1945 of assistant curator at the Stedelijk Charlemagne Palestine 1947 geboren als Chaim Moshe Tza- in those days. I’m happy to be the dik Palestine, of Charles Martin in “Uncle Appel”.’ bespeelde het carillon van het Brooklyn, New York, tegenwoodig Hendrik Chabot Prijs 2014 van het Prins Bernhard Cultuurfonds aan Bik Van der Pol, 16 januari 2015, foto Peter van Mulken van Peter foto 2015, januari 16 Pol, der Van Bik Cultuurfonds Bernhard aan Prins het van 2014 Prijs Chabot Hendrik Uncle Appel. The last one standing. Rotterdamse stadhuis toen Bik woonachtig in Brussel) is een Ame- rikaans componist van minimalisti- ‘I was a pilot at the time.’ Van der Pol de Bart Chabot sche muziek, performer en beeldend You mean a pilot in the sense of Prijs 2014 kregen uitgereikt. kunstenaar, met, zoals Wikipedia het flying? De kleurrijke kunstenaar, die al omschrijft een voorkeur voor ‘knuf- ‘What happened is that I went to felbeesten, cognac en kretek siga- live for almost a year in Sweden, in geruime tijd in Brussel woont, retten’. Palestine, een tijdgenoot van Skåne, which is below Stockholm. vertegenwoordigt in zekere Steve Reich en Philip Glass, heeft It’s in the countryside. I had a few zin de rijke geschiedenis van altijd zijn eigen werk uitgevoerd, in performances zowel op het podium shows of these drawings I was mak- de westerse conceptuele als in kunstcentra, zoals De Appel ing those days with arrows that went kunst waar het Rotterdamse in de legendarische tijd met Wies in all kinds of directions.
    [Show full text]
  • Battles Around New Music in New York in the Seventies
    Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.
    [Show full text]
  • Rethinking Minimalism: at the Intersection of Music Theory and Art Criticism
    Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter Shelley A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee Jonathan Bernard, Chair Áine Heneghan Judy Tsou Program Authorized to Offer Degree: Music Theory ©Copyright 2013 Peter Shelley University of Washington Abstract Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter James Shelley Chair of the Supervisory Committee: Dr. Jonathan Bernard Music Theory By now most scholars are fairly sure of what minimalism is. Even if they may be reluctant to offer a precise theory, and even if they may distrust canon formation, members of the informed public have a clear idea of who the central canonical minimalist composers were or are. Sitting front and center are always four white male Americans: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. This dissertation negotiates with this received wisdom, challenging the stylistic coherence among these composers implied by the term minimalism and scrutinizing the presumed neutrality of their music. This dissertation is based in the acceptance of the aesthetic similarities between minimalist sculpture and music. Michael Fried’s essay “Art and Objecthood,” which occupies a central role in the history of minimalist sculptural criticism, serves as the point of departure for three excursions into minimalist music. The first excursion deals with the question of time in minimalism, arguing that, contrary to received wisdom, minimalist music is not always well understood as static or, in Jonathan Kramer’s terminology, vertical. The second excursion addresses anthropomorphism in minimalist music, borrowing from Fried’s concept of (bodily) presence.
    [Show full text]
  • THE ORCHESTRA of FUTURIST NOISE INTONERS Luciano Chessa, Director
    Intonarumori, ArtBasel Miami Beach, 2011, photo by Javier Sanchez THE ORCHESTRA OF FUTURIST NOISE INTONERS Luciano Chessa, Director A Performa 09 Commission These eccentric hurdy-gurdy instruments first created in 1913 still sounded musically radical after all these years. Roberta Smith for The New York Times The Orchestra of Futurist Noise Intoners is the only complete replica of futurist composer/sound artist Luigi Russolo’s legendary intonarumori orchestra. The orchestra tours worldwide, presenting concerts that feature historical and new works commissioned from an all-star cast of experimental composers, some performing live alongside this orchestra of raucous mechanical synthesizers. The orchestra’s composers include Sonic Youth’s founding guitarist Lee Ranaldo, seminal composer/vocalist Joan La Barbara, Einstürzende Neubauten frontman and Nick Cave collaborator Blixa Bargeld, avant-garde saxophonist John Butcher, Deep Listening pioneer Pauline Oliveros, Faith No More and Mr. Bungle vocalist Mike Patton, avant-garde musician Elliott Sharp, and composer/vocalist Jennifer Walshe collaborating with late composer and film/video artist Tony Conrad, among others. For further details and touring information contact Esa Nickle at Performa on +1 212 366 5700, or email [email protected] HISTORY As part of its celebration of the 100th anniversary of Italian Futurism, the Performa 09 biennial, in collaboration with the Experimental Media and Performing Arts Center (EMPAC) and the San Francisco Museum of Modern Art (SFMOMA), invited Luciano Chessa to reconstruct Russolo’s intonarumori. Supervising Bay Area craftsman Keith Carey, Chessa succeeded in recreating for the first time Russolo’s earliest intonarumori orchestra, originally unveiled in Milan in the Summer of 1913 (16 instruments—8 noise families of 1-3 instruments each, in various registers).
    [Show full text]
  • A DIFFERENT WAY to MOVE Minimalismes, New York, 1960-1980
    PRESS KIT A DIFFERENT WAY TO MOVE Minimalismes, New York, 1960-1980 CARRÉ D’ART-NÎMES 7 APRIL- 17 SEPT. 2017 1973, détail d’un diptyque réalisé en 2010. Photo © 1973 / 2010 Babette Mangolte. Courtesy de l’artiste & Broadway 1602. Babette Mangolte. Courtesy de l’artiste & Broadway Photo © 1973 / 2010 1973, détail d’un diptyque réalisé en 2010. 1973, détail d’un diptyque réalisé en 2010. Photo © 1973 / 2010 Babette Mangolte. Courtesy de l’artiste & Broadway 1602. Babette Mangolte. Courtesy de l’artiste & Broadway Photo © 1973 / 2010 1973, détail d’un diptyque réalisé en 2010. Trisha Brown, Woman walking down a ladder, walking down a ladder, Woman Brown, Trisha Trisha Brown, Woman walking down a ladder, walking down a ladder, Woman Brown, Trisha Babette Mangolte, Babette Mangolte, Place de la Maison Carrée. 30000 Nîmes. France. Téléphone : 00 33 4 66 76 35 70. Fax : 00 33 4 66 76 35 85 E-mail : [email protected] PRESS KIT Musée d’art contemporain de Nîmes A DIFFERENT WAY TO MOVE MINIMALISMES. NEW-YORK 1960-1980 Carré d'Art - Nîmes Museum of Contemporary Art Exhibition from 7 April until 17 September 2017 Curator: Marcella Lista An exhibition celebrating the 40th anniversary of the Centre Pompidou Contents Press Release Presentation of the exhibition Exhibition Catalogue List of exhibited works Images Lectures and performances relating to the exhibition Practical informations Upcoming Exhibition Press officer : Delphine Verrières-Gaultier - Carré d'Art Tél : +33 (0)4 66 76 35 77 - E-mail : [email protected] Press Release A DIFFERENT WAY TO MOVE MINIMALISMES. NEW-YORK 1960-1980 Place de la Maison Carrée.
    [Show full text]
  • 2009 Wiki Archives
    Immersion Session Listing Thursday Immersion Session – Perspectives on Reich "Same Music, Different Perceptions? Steve Reich‘s Six Pianos and Six Marimbas as Case Study" Kyle Fyr (Indiana University) The fact that Steve Reich‘s music encourages a listener to shift between various metric interpretations has been well established. Richard Cohn, Gretchen Horlacher, and John Roeder1 have written on the subject, and Reich2 himself has written about this issue as well. In certain situations, however, accounting for why and how such shifting metric perceptions occur can prove quite difficult. Six Marimbas (1986) is a rescoring of Six Pianos (1973), and although Six Marimbas is written a half step lower, the scores are virtually identical, prompting a reasonable assumption that metric perception would be very similar if not identical in both pieces. When listening to Six Marimbas, however, I have realized that I consistently perceive meter differently than when I listen to Six Pianos. Hypothesizing that this is no coincidence, this paper explores the reasons why my metric interpretations are not consistent between the two pieces. Is there evidence anywhere that Reich would expect perception (metrical or otherwise) of the two pieces to be different? John Pymm Interesting paper! I'm especially curious how performative differences were ruled out as influencing beat perception. David Chapman Very interesting juxtaposition of the two pieces. In both, it's hard for me to perceive climaxes as strong metric accents. They seem like syncopations to my ear. But the system depends heavily on climax notes to establish metric accent. So I guess I'm not sure about the assumptions.
    [Show full text]
  • Dypdykk I Musikkhistorien - Del 23: Minimalistisk Musikk (25.03.2019 - TNB) Oppdatert 25.03.2019
    Dypdykk i musikkhistorien - Del 23: Minimalistisk musikk (25.03.2019 - TNB) Oppdatert 25.03.2019 Spilleliste pluss noen ekstra lyttetips: Pionerer Dragon’s teeth Moondog And His Friends (1953) / Moondog November (1959) / Dennis Johnson Untitled organ (1964-1966) / Terry Riley Inside the dream syndicate volume 1: Day of Niagara (1965) [2000] I of IV (1966) Electronic works (1997) / Pauline Oliveros It’s gonna rain​ (1965) / Steve Reich Piano phase​ (1967) / Steve Reich The Velvet Underground & Nico (1966) / The Velvet Underground & Nico De 4 store La Monte Young The well-tuned piano ​(1964) (The well-tuned piano in the Magenta lights (2000)[DVD]) Steve Reich Drumming (1971) ; Music for 18 musicians (1976) ; Different trains (1988) (Phases - A Nonesuch retrospective (2006)) Terry Riley A rainbow in curved air (1969) In C (1968) / Terry Riley In C​ (1968) (Terry Riley - In C (2005) / DesAccordes) In C (2001) / Acid Mother Temple & The Melting Paraiso U.F.O. Philip Glass Music in twelve parts (1976) Glassworks (1982) Andre minimalister From the side of man and womankind Outside the dream syndicate (1973) / Tony Conrad with Faust Visitations Part 1 Visitations (1973) / Jon Gibson Evil nigger​ (1979) (Unjust Malaise (2005) / Julius Eastman) Monk Fear And Loathing In Gotham - Gotham Lullaby (Dolmen music (1981) / Meredith Monk) Nothin To Look At Just A Record (1982) / Phil Niblock Crossing the border (1990) / Steve Martland Europa The piano concerto / Michael Nyman Passio (1988) / Arvo Pärt De Stijl (1994) / Louis Andriessen Hout ​[Louis Andriessen] Industry (1995) / Bang On A Can Baalbeck under the stars ; Shijingshand ballad (Inside (2014) / Urban Sax) Opera Akhnaten / Philip Glass Nixon in China / John Adams Mikrotonalitet ii-v-i freeHorn (2017) / Larry Polansky Lois V Vierk Postminimalisme Part I.
    [Show full text]