Wanting to Say Something About John 17.02. bis 06.05.2012 // täglich 10 bis 19 Uhr freiraum quartier21 INTERNATIONAL // MuseumsQuartier Wien
EINTRITT FREI
VORWORT INTRODUCTION the results of those chance operations is we could have nonviolent social change recycled without pathos, as they have always quartier21 team for all of their invaluable Wir feiern Geburtstag! 2012 wird das John Cage Influenced and Influential the questions. The things which should be is because we know we have nonviolent art been here as a public source, and a natural, help, and especially to Elisabeth Hajek quartier21 10 Jahre alt. Wir läuten dieses criticized, if one wants to criticize, are the change. We mustn’t believe that you can anonymous and legitimate strategy. The for her great enthusiasm and perfect Jubiläumsjahr mit einer Ausstellung zum Cage has a certain charm as well … questions that are asked.”2 He adressed only change by killing because you can title “Membra Disjecta” refers to his famous co-ordination. We are grateful to all of 100. Geburtstag von John Cage ein. Roland Barthes in his autobiography questions to himself, the I-Ching, his also change by creating.”5 This assumption, method of treatment of various inspirational our funding institutions, in particular to Warum passt Cage so gut ins Museums- listeners, friends, or the social setting. based on a quasi-Christian vision of the sources, as well as to the historical, aesthetic the Federal Ministry for Education, Art and Quartier Wien? Weil seine Vision eines Do you think you could give this speech To ask wisely was simply the essential part inherent goodness of human beings, as well and media heterogeneity of the exhibited Culture and the Cultural Office of the City Gleichklangs von Kunst und Leben täglich without mentioning John Cage? of his personality, eclectic philosophy and as his deep belief in progress finally brought collection (membra disjecta or disjecta of Vienna, as well as the national and im Kulturareal zu spüren ist. Hier trifft Alvin Lucier asking Robert Ashley way of life. With a respect for tradition and him to the theory of nonviolence and also membra is Latin term for “scattered international cooperation partners, lenders Klangkunst auf DJ-Sounds, Street Art auf to speak about Lucier’s music at Wesleyan a sense for experimentation, he continued contributed to his profound conviction in the members”, and is used to refer to surviving and galleries for their support and trust. Egon Schiele, barocke Architektur auf University to open new horizons and spaces and was gradual ethical self-regulation of humankind fragments of ancient pottery, manuscripts Special thanks are due to Laura Kuhn, modernes Design. Für Impulse von außen instrumental in the conceptualization and and the significant role that science, and other cultural objects). The subtitle director of the John Cage Trust in New sorgen die Artists-in-Residence, die auch Few artists have had such a profound impact intermedialization of the arts. “John opened technology, media and arts play in the further “Wanting to Say Something About John” York, for her help in arranging the loan zum Ausstellungsprogramm beitragen. on the arts in recent decades as American up the door and I just opened the window cultivation of mankind. Aside from the is meant as a paraphrase of Cage’s of Not Wanting to Say Anything About Mehr soll an dieser Stelle nicht verraten musician, writer, and visual and intermedia a crack,” Morton Feldman, in whom Cage abovementioned oriental influences, the commemorative visual homage to Marcel Marcel by John Cage: We are delighted to werden. Stille ist, so Cage, ein Zustand „frei artist John Cage (1912–1992). Moreover, found a disputing sparring partner par ethical aspects of Cage’s social philosophy Duchamp. In 1969, Cage and several other be able to show this work! Special thanks von Intention“. Wenn Sie also ganz zufällig im his concepts of open work, indeterminism, excellence, once stated.3 Legendary 4’33” were also formed by the environmental and artists were asked to contribute an idea also go to Galerie výtvarného ume ̌̌ní v freiraum quartier21 INTERNATIONAL vorbei transversality, plurality, and interdisciplinarity was also just a big question posed in the globalizing world views prevalent at the time: in honour of Duchamp, who had died the Ostrave ̌̌ for publishing the exhibition kommen, sollte dieses „nicht-intentionale correspond with recent discourse in right time and context (like Duchamp’s “Now in connection with the thought of previous year. Cage created a multiple catalogue. We are equally indebted to Ereignis“ ganz im Sinn von John Cage sein. the humanities, helping it overcome its ready-made forty years before it). It can Marshall McLuhan we know that we live in a consisting of two lithographs and eight the Walther König bookshop (Andreas metaphysical orientation and establish be viewed as a milieu vibrating with many period of the extension of the mind outside of Plexigrams, all printed with text generated at Wigand and team) for procuring books for Wir freuen uns auf Ihren Besuch. more liberal interpretation strategies. meanings, where the American sense for us, in the sense that the wheel was an random with the help of the Chinese oracular the TONSPUR_library with a special focus Christian Strasser Formerly trained as a visual artist and experiment meets European (compositional extension of the power that we have in our book I Ching and presentable in random on literature by and on John Cage and the Direktor MuseumsQuartier Wien musician, and later inspired by Joyce form and institutional presentation) and legs to move, so we now with our electronics order, one behind the other in a special artists participating in the show. Last, but not and Duchamp, modern dance, oriental Oriental (Zen tolerance and empathy for have extended our central nervous system wooden frame. Finally he decided to title least, our very sincere thanks go to all the philosophy, and the thoughts of Meister environmental aspects of all processes and not only around the globe but out into space. the work after the Jasper Johns’ statement artists for contributing their wonderful works FOREWORD Eckhart, Thoreau, Fuller, and McLuhan, situations) traditions. This then gives us the responsibility to see “I don’t want to say anything about Marcel.” and candid personal statements to make this It’s our birthday! In 2012, quartier21 is ten Cage managed to incorporate all of these enlightenment, not in terms of individual The participating artists include several long-planned tribute marking the centennial years old. We’re ringing in the anniversary inspirational sources in his work in surprising But Cage did not open the door merely to attainment, but in terms of social attainment, of Cage’s collaborators and friends as of one of the greatest figures in the world of year with an exhibition celebrating the contexts, creating postmodern intermedia new (or, better said, to newly discovered) so that at that point we must say that the well as younger artists who are inspired the arts happen. hundredth birthday of John Cage. and multimedia art par excellence at a time ideas; his main purpose in opening it was world as we now see it is intolerable.”6 But by his work. It consists of known works by Why does Cage fit so well with the Museums- when postmodernism was still in its infancy. to allow commonplace sounds to enter into the social-critical feature of Cage’s complex renowned artists as well as pieces specially Jozef Cseres – Georg Weckwerth Quartier Wien? Because his vision of the the hermetically closed realm of sacral tones personality only seemingly opposes the created for the project. The show is an Curators union of art and life can be felt everyday in How is it that the cocktail mixed from such through it. And though he did not succeed deliberate involvement of a pragmatic subject ambitious undertaking juxtaposing a variety the MQ culture complex. This is where sound a quantity of varied ingredients does not in depriving sounds of their semantic aspects and his ability to also accept and exploit of media, with paintings, drawings, prints, References art meets DJ sounds, street art meets Egon have a resulting consistency with a bizarre and providing a representational immunity adverse influences. One can see Cage’s collages, musical scores, texts, photographs, 1 Richard Kostelanetz: Conversing With Schiele, and Baroque architecture meets taste or odour? Well, the charm of Cage’s for them (by aleatorics and indeterminacy), lifetime effort to achieve philanthropic- instructive pieces, sculptural objects, Cage. Omnibus Press, London/New York/ modern design. The artists-in-residence bring personality as well as the essence of his he still achieved in equalizing sounds with ecological synthesis behind his ambition installations, videos, musical pieces and Sydney 1989, p.267 inspiration from the outside and contribute to mastery rest in his ability to connect tones, and in so doing in elevating them to a to depolarize dichotomy “acceptable/non- sound installations, which again corresponds 2 Ibid., p.85 the exhibition program. seemingly un-connectable phenomena paramountly musical state. Cage always acceptable”. Many of his answers to the with the versatile persona of Cage. The entire 3 Peter Gena & Morton Feldman: H. C. E. We have lots in store for you this coming with a knack for correctly estimating their bore in mind the social dimension of Proustian questions put him by Jacqueline installation is divided into nine sections – (Here Comes Everybody). In: Gena, P., year. But this is all we’ll reveal for now. relative proportions. Furthermore, although organizing the sounds, activity to which he Bossard in a questionnaire in 1970 prove this: Silence, Happy New Ears!, Composition, Brent, J. & D. Gillespie (eds.), “A John Cage Silence, said Cage, is a condition “free of he made risky connections he ensured a fully devoted himself, as he had promised his Indeterminacy, Anarchy, Notations, Where Reader in celebration of his 70th birthday,” intention.” So if you happen to pass by result by adopting irrationality in his mental teacher Arnold Schoenberg. However “Où aimeriez-vous vivre? Are We Eating? and What Are We Eating?, C. F. Peters Corporation, New York/London/ freiraum quartier21 INTERNATIONAL by world, a tried and tested method of Zen orthodox and intense his enthusiasm for Where I am. Where Are We Going? and What Are We Frankfurt 1982, p.57 chance, see it as an “unintentional event” Buddhist practice: “My concern toward the indeterministic composing was, he failed to Votre idéal de bonheur terrestre? Doing? and Writing through and Statements 4 Richard Kostelanetz: Conversing With in the spirit of John Cage. irrational, and my belief that it is important eliminate his own subjective input from the The general presence of intelligence among re – titled after key books or essays by Cage. Omnibus Press, London/New York/ to us in our lives, is akin to the use of the creative act. Instead of the dreamt-of realm human beings, and the nonobstruction of Cage. This was not our original intention Sydney 1989, p.74 We look forward to your visit. koan in Zen Buddhism. That is to say, we are of natural indeterminism he paradoxically nature (ecology). as curators but a natural reaction 5 Ibid., p.263 Christian Strasser so accustomed and so safe in the use of our arrived to the institutional art world, a world Pour quelles fautes avez-vous le plus to the contributions we received from the 6 Ibid., p.267–8 Director MuseumsQuartier Wien observation of relationships and our rational of ideas and intentions. Nor did the philistine d’indulgence? artists, a pragmatic need to sort and order 7 Ibid., p.285 faculties that in Buddhism it was long known Zen practice of proclaiming the failure to be My love of music.”7 the collected “membra disjecta” and to 8 John Cage: Silence. Wesleyan UP, that we needed to leap out of that, and the intentional help him. On the contrary, his own articulate the complex space of exhibition. Middletown, CT 1973, p.8 Organizers discipline by which they made that leap take failure forced him to extend the sphere of His love of music is of course “pardonable”; In addition, the artists were asked to “say quartier21/MuseumsQuartier Wien place was asking a question that could not “divine influences” to which music had to be it was certainly a major gain for humankind something about John,” and their personal TONSPUR für einen öffentlichen raum be answered rationally. Now they discovered helpful according to oriental imaginations: that he never succeeded in shaking this statements are assembled in a display that Translations Federal Ministry for European that when the mind was able to change so “Composition is like writing a letter to a bad habit of his. It was he who opened imitates Cage’s original plexigram multiple. Susan Schwarz [foreword] and International Affairs that it was able to live not just in the rational stranger. I don’t hear things in my head, nor “Pandora’s music box” in a century that Jonathan Quinn [introduction] Slovak Institute in Vienna world but wholly, and in a world including do I have inspiration. Nor is it right, as some would be depressing and devastating In a special way, “Membra Disjecta for Embassy of the United States in Vienna irrationality, that then one is, as they said, people have said, that because I use chance without him, as Morton Feldman once stated. John Cage” tries to remind people of enlightened.”1 Cage was a master at asking operations my music is written not by me, Having realized that “one need not fear about John Cage’s significance and wide influence Curators the right questions. He asked them whole but by God. I doubt whether God, say he the future of music,”8 because the sounds’ in the current “intolerable world,” whose Jozef Cseres and Georg Weckwerth his life. He put them directly as well as in existed, would take the trouble to write my existence is everlasting, was the hope left at aggressive and greedy institutions turn every metaphors, verbally as well as in own works: music”.4 John Cage uttered these words in the bottom of the box which absolved Cage idea into a commodity without any reference Coordination “What can be analyzed in my work, or his seventies, and though he began lose his of all of his “sins” that his natural curiosity to or respect for its author. Dear Alvin, freiraum quartier21 INTERNATIONAL criticized, are the questions that I ask. former “modernist” illusions about art as a had led him to commit in music. we are sorry that we cannot do it “without Elisabeth Hajek But most of the critics don’t trouble to find tool of radical revolution, he never doubted in mentioning John Cage.” out what those questions were. And that its ability to change the world: The exhibition “Membra Disjecta for John Links would make the difference between one “It would be good if we could make our Cage” is in a way an investigation of what is Acknowledgments http://johncage.tonspur.at composition made with chance operations changes nonviolently. That’s how changes left of the Cage’s legacy in the postmodern Our thanks go to the director of the www.quartier21.at and another. That is, the principle underlying in art take place. The reason why we know condition, when his ideas and acts are being MuseumsQuartier Wien and the entire freiraum quartier21 INTERNATIONAL // MuseumsQuartier Wien Feb 17 to May 6, 2012 // daily 10am to 7pm // free admission MEMBRA DISJECTA FOR JOHN CAGE Wanting to Say Something About John
Artists Sabine Groschup [AT] Joan La Barbara [US] Lee Ranaldo & Zeger Reyers [US/NL] Gerlinde Wurth [AT] DATES * 1959 in Innsbruck, Austria // lives and * 1947 in Philadelphia, Pennsylvania // lives * 1956 in Glen Cove, New York // * 1966 in * 1933 in Vienna // lives and works in Vienna All events are free of charge. Milan Adamc ̌iak [SK] works in Vienna and Berlin // ( JC {100} ) #1, and works in New York City // Persistence of Voorburg, The Netherlands // lives and works in and Gloggnitz, Austria // BACH CAGE, 2011, Further information can be found on * 1946 in Ružomberok, Slovakia // lives and 2006/2012, experimental documentary on the Memory, 2011, working score sketch for New York City // lives and works in Den Haag, indian ink and felt pen on paper http://johncage.tonspur.at works in Podhorie, Slovakia // Klangspuren I John-Cage-Organ-Art-Project Halberstadt musical composition The Netherlands // De/Composition for John (Ad honorem John Cage), 2011, chance (chance operation #1 by Jozef Cseres) (listen… to the mushrooms grow), 2011/12, + Exhibition opening (chemical and physical) operations on tar Brandon LaBelle [US] project scetch for installation February 16, 2012, 7pm paper Milan Grygar [CZ] * 1969 in Memphis, Tennessee // lives and John Cage [US] In the presence of Laura Kuhn, director * 1926 in Zvolen, Czech Republic // lives and works in Berlin // Lecture on Nothing, 2010, Keith Rowe [UK] * 5. September 1912 in Los Angeles // John Cage Trust, New York. Including the Tyler Adams [US] works in Prague // Blue Score, 1972, graphic text with sound * 1940 in Plymouth, Great Britain // lives and † 12. August 1992 in New York City // performance I Saw A Documentary About * 1980 in Los Angeles // lives and works in score works in Vallet, France // A drawing Between, Not Wanting to Say Anything About Marcel, Insects by Sam Ashley, and a live surprise Los Angeles // Fulbright-Artist-in-Residence Alan Licht [US] 2011, IRIS manipulated drawing/print 1969, silkscreen on eight Plexiglas panels transmission by Ben Patterson. at quartier21/MQ // Performing Silence, Franz Hautzinger [AT] * 1968 in New Jersey // lives and works in with wooden base and two lithographs 2009, video * 1963 in Seewinkel, Austria // lives and works New York City // C-A-G-E Spells Licht, 2011, Blahoslav Rozbor iľ [CZ] TONSPUR_passage in Vienna // Cage 17, 1998, pen drawing visual score involving light * 1959 in Rychnov nad Kne ̌žnou, Czech TONSPUR 51: Sam Ashley Stephen Addiss [US] Republic // lives and works in Brno, Czech Credits Freedom From Happiness * 1935 in New York City // lives and works in Pierre Hébert [CA] Alvin Lucier [US] Republic // John Cage, 1991, linocut [Cover] John Cage, Frankfurt 1986 © photo Feb 16 to May 5, 2012 [daily 10am to 8pm] Midlothian, Virginia // ENSO (Zen circle), * 1944 in Montréal, Québec // lives and * 1931 in Nashua, New Hampshire // lives Andreas Pohlmann // Milan Adamc ̌iak [photo Opening: Feb 16, 5pm 2010, ink on smoked paper works in Hemmingford, Canada // Silence and works in Middletown, Connecticut // Frank Scheffer [NL] Miroslav Šimek] // Philip Corner [photo Mirek Introduction: Volker Straebel [musicologist] – Hommage à John Cage, 2011, drawing on Music for Solo Performer, 1965, photograph * 1956 in Venlo, The Netherlands // lives and Švejda] // Alvin Curran [courtesy Zerynthia, Robert Ashley [US] paper (1988) works in Amsterdam // From Zero: a group of Rome; commissioned for sonambiente berlin Side program * 1930 in Ann Arbor, Michigan // lives and films, 1995, documentary 2006] // David Dunn [photo Katrina Milne] // Book launch, Lectures, Screenings, works in New York City // The Influence of Gary Hill [US] Christian Marclay [US/CH] Sabine Groschup [courtesy John-Cage- Exhibition, Performances, Workshop John Cage, 2011, text * 1951 in Santa Monica, California // lives * 1955, lives and works in New York City and Jirˇí Šigut [CZ] Organ-Foundation, Halberstadt; photo and works in Seattle, California // Resolution, London // Calls for Cage, 2011, instruction * 1960 in Ostrava, Czech Republic // lives Barbara Klemm] // Alvin Lucier [photographer Feb 17, 2012, 7pm Sam Ashley [US] 1979, video without sound for participatory piece and works in Ostrava // John Cage – Music unknown] // Christian Marclay [courtesy Tomáš Vtípil: Scattered Members for male lives and works in Berlin // Artist-in- for Marcel Duchamp, 1987, photograph on Paula Cooper Gallery, New York and White choir and electronics, 2012 Residence at quartier21/MQ // Freedom Steven Holl [US] Benoît Maubrey [US/FR] bromine-silver photographic paper Cube, London] // Blahoslav Rozbor iľ [photo Electronics: Tomáš Vtípil; male choir: Láska From Happiness, 2003/2012, score with * 1947 in Bremerton, Washington // * 1952 in Washington DC // lives and works Mirek Švejda] // The Lazy Anarchists [photo opravdivá, Brno, Czech Republic instructions and eight-channel sound work lives and works in New York City // in Baitz, Germany // Speakers Cake (for John Jan Steklík [CZ] Jozef Cseres] // Kris Vleeschouwer [courtesy Location: freiraum quartier21 INTERNATIONAL created for TONSPUR Drawing for Simmons Hall, MIT, Cambridge, Cage), 2012, sound installation * 1938 in Ústí nad Orlicí, Czech Republic // Annie Gentils Gallery, Antwerp] // Gerlinde MA, 1999-2002, Iris print of watercolors lives and works in Ústí nad Orlicí // Wurth [courtesy Galerie Grita Insam, Vienna] Feb 18, 2012 Conny Blom [SE] Jeremy Millar [UK] Mushrooms for John Cage, 2008-09, mixed // John Cage [courtesy John Cage Trust, 3pm: Guided tour with the curators * 1974 in Helsingborg, Sweden // lives Svetozár Ilavský [SK] * 1970 in Coventry, Great Britain // lives and media on cardboard New York and Margarete Roeder Gallery, Location: freiraum quartier21 INTERNATIONAL and works in Landskrona, Sweden // * 1958 in Bratislava, Slovakia // lives and works in Whitstable, Great Britain // Ex Libris, New York] 5pm: Presentation of the exhibition catalogue 4’33 Minutes of Stolen Silence, 2005, works in Cífer, Slovakia // Per Cage, 2008, 2010, text installation Volker Straebel [DE] with Jozef Cseres and Georg Weckwerth, conceptual sound work combine painting on canvas * 1969 in Berlin // lives and works in Berlin // published by Galerie výtvarného umeˇní v Gordon Monahan [CA] 101 W 18th St. (Sound Observation #8), The quartier21 team wishes to thank Ostraveˇ William Brovelli & Margaret Leng Tan [US] Hilary Jeffery [UK/NL] * 1956 in Kingston, Ontario // lives and works 2011/12, sound installation, five channel Christian Strasser, director 5.30pm: Lecture Laura Kuhn, director John * 1967 in Worcester, Massachusetts // * 1945 * 1971 in Surbiton, Great Britain // lives and in Meaford, Canada // Five Silent Studies, digital audio (binaural version) MuseumsQuartier Wien Cage Trust, New York in Singapore // live and work in New York works in Berlin and Amsterdam // Tibetan 1981, musical composition with score Ambassador Martin Eichtinger, director Location: Walther König bookshop at MQ City // MLTVID 4’33”, 2009, video Tunnels, 2006, pencil and ink on paper, Richard Teitelbaum [US] general for cultural policy at the Federal 6.30pm: Lectures and screenings installation sound recording Charlie Morrow [US] * 1939 in New York City // lives and works in Ministry for European and International Affairs Ray Kass, School of Visual Arts, Virgina Tech; * 1942 in Newark, New Jersey // lives and New York City // Threshold Music for John Viera Polakovicoˇvá, director Slovak Institute founder and director The Mountain Lake Arturas Bumšteinas [LT] GX Jupitter-Larsen [US] works in Helsinki, Finland and Barton, Cage, 1974, musical score Roland Fuchs, public affairs office, Embassy Workshop, Virginia * 1982 in Vilnius, Lithuania // lives and * 1959 in New York City // lives and works Vermont // TootN Blink Chicago, 1982, of the United States of America Rainer O. Neugebauer, board of trustees works in Vilnius and Warsaw, Poland // More in Hollywood, California // Cage About the musical composition with score The Lazy Anarchists [SK/HU/US/DE] Laura Kuhn, director John Cage Trust John-Cage-Organ-Art-Project Halberstadt Music for the Wonderful Widow, 2011, song, Polywave, 2011, print Jozef Cseres // * 1961 in Nové Zámky, Jozef Cseres and Georg Weckwerth, curators Screening of ( JC {100} ) #1, a film by Sabine mural text David Moss [US/DE] Slovakia // lives and works in Brno, Czech the participating artists Groschup on John Cage’s ORGAN²/ASLSP Ray Kass [US] * 1949 in New York City // lives and works in Republic and all partners and sponsors. in Halberstadt Christopher Chew & Margaret Leng Tan [US] * 1944 in Christiansburg, Virginia // lives and Berlin // 1 Mossostic for JC, 2011, printed Zsolt Kovács // * 1969 in Révfülöp, Hungary Location: Raum D / quartier21 * 1973 in Singapore // * 1945 in Singapore // works in Christiansburg and New York City // and hand-written graphic plus sound work // lives and works in Diósd, Hungary and The “freiraum quartier21 INTERNATIONAL” live and work in New York City // Play Me, I’m Artist-in-Residence at quartier21/MQ // Rambouillet, France series is organized in cooperation with Feb 22, 2012, 6.30pm Yours, 2010, video, photograph, text For Merce Cunningham – a performance of Morgan O’Hara [US] Gen Ken Montgomery // * 1957 in New York the Federal Ministry for European and Svetozár Ilavský Die Inventur John Cage’s STEPS : A Composition For A * 1941 in Los Angeles // lives and works in New City // lives and works in New York City International Affairs and other national Exhibition opening and musical performance Nicolas Collins [US] Painting To be Performed by Individuals and York City // questions from silence, 2011, Ben Patterson // * 1934 in Pittsburgh, and international partners. dedicated to John Cage * 1954 in New York City // lives and works in Groups, performed on July 27, 2009, watercolor and graphite on watercolor paper Pennsylvania // lives and works in Feb 23 to Mar 26, 2012 [Mo–Th 9am–12.30pm, Chicago // Meeting John Cage, 2011, text 2006, ink and watercolor on nylon fabric Wiesbaden, Germany 1–5pm; Fr 9am–12.30pm, 1–3pm] with score Marian Palla [CZ] Zsolt So rés ̋ // * 1969 in Budapest // lives and Exhibition tour Location: Slovak Institute in Vienna Hassan Khan [EG] * 1953 in Košice, Slovakia // lives and works works in Budapest Membra Disjecta for John Cage. Wanting to Wipplingerstrasse 24–26, 1010 Wien Philip Corner [US/IT] * 1975 in London // lives and works in Cairo, in Str elice,̌ Czech Republic // 4’33”, 2011, 55 for J.C., 2011, assemblage of found Say Something About John will be shown * 1933 in New York City // lives and works in Egypt // I am not what I am, 2009, silent mixed media scores at the DOX Centre for Contemporary Art in Feb 25, 2012, 2pm to 6pm Reggio Emilia, Italy // Some Silences, 2011, animation Prague from June to August 2012, and later Children’s Workshop Cage and Kids with coloured marker on yellow handmade paper Paul Panhuysen [NL] Yasunao Tone [JP/US] the year at Galerie výtvarného umeˇní in Ost- Sabine Groschup. Barbara Klemm [DE] * 1934 in Borgharen, The Netherlands // lives * 1935 in Tokyo // lives and works in New rava, Czech Republic, from December 2012 Playful children’s variations on the Alvin Curran [US/IT] * 1939 in Münster, Germany // lives and and works in Eindhoven, The Netherlands // York City // Ten Haikus of Basho, 2006, to March 2013. Mud Book. How to Make Pies and Cakes * 1938 in Providence, Rhode Island // lives works in Frankfurt am Main, Germany // A Magic Square in Memory of John Cage, calligraphic notation Further venues are in discussion. by John Cage and Lois Long. and works in Rome, Italy // Gardening with John Cage, Darmstadt 1982, 1982, analogue 1992, print on paper Warning: “Mud pies are to make and to look John 1.1, 2006, sound installation photograph Kris Vleeschouwer [BE] at, not to eat!” Ben Patterson [US/DE] * 1972 in Mortsel, Belgium // lives and works Location: freiraum quartier21 INTERNATIONAL Arnold Dreyblatt [US/DE] Alison Knowles [US] * 1934 in Pittsburgh, Pennsylvania // lives in Antwerp, Belgium // Beautiful Day, Info and registration: [email protected] * 1953 in New York City // lives and works in * 1933 in New York City // lives and works in and works in Wiesbaden, Germany // 2006/2012, interactive installation Berlin // Writing Cage, 2011, lenticular text New York City // Bean Concordance, 2010, Artist-in-Residence at quartier21/MQ // More events are planned. wall object mixed media on paper Blackjack for Drinkers, 2011, materials and Hong-Kai Wang [TW] For additional dates please visit the website rules for playing a game * 1971 in Yunlin, Taiwan // lives and works http://johncage.tonspur.at David Dunn [US] Richard Kostelanetz [US] in Brussels, Belgium and Taipei, Taiwan // * 1953 in San Diego, California // lives and * 1940 in New York City // lives and works in Michael Prime [UK] Artist-in-Residence at quartier21/MQ // TONSPUR_passage works in Santa Fe, Arizona // Thresholds and Ridgewood, New Jersey // In Memoriam of * 1962 in Paolo Alto, California // lives and Herbert Brün: a composer is that without Next opening: May 6, 2012, 5pm Fragile States (September 11, 2011), 2011, John Cage, 1992, Plexiglas object marked works in County Cork, Ireland // Agarikon, which something would not have happened, www.tonspur.at audio recording with felt pen 2011, video installation 2012, recorded performance, text Last day of exhibition Peter Graham [CZ] Petr Kotík [US/CZ] George Quasha [US] Christian Wolff [US] May 6, 2012 * 1952 in Brno, Czech Republic // lives and * 1942 in Prague // lives and works in * 1942 in White Plains, New York // lives * 1934 in Nice, France // lives and works Extended opening hours until 9pm. works in Adamov, Czech Republic // Get Out New York City and Ostrava, Czech Republic and works in Barrytown, New York // Axial in Hanover, New Hampshire and Royalton, of Whatever CAGE, 1992, graphic score, // In Four Parts (3, 6 & 11 for John Cage), Drawing for John Cage: Nos. 1, 2011, work on Vermont // John Cage Note(s), 2011, text, letraset and ink on paper 2009, musical composition with score paper with four colours in acrylic ink piece of music
Partner des Artist-in-Residence- Programms im quartier21/MQ: John Cage Trust Mit Unterstützung der ERSTE Stiftung johncage.org
Buchhandlung Wa lt her König Hotel im MuseumsQuartier Fürstenhof