Apart from the direct feedback on my work the clear benefit for me was needing to spend time engaging with everyones work and preparing comments, hearing others comments. It felt encouraging in terms of a broad sense of community as much as anything.
It did feel overall a place for positive comments – if you wanted to raise doubts the other person couldn’t reply so there seems to be an ethical question here. Perhaps many doubts are really questions so I guess that would be how you would approach it-open questions. Postive comments are good to have but good negative comments are more likely to generate the energy for change. It’s easier to be positive than negative!
I became aware of my own strategy in presenting the video when looking at the whole range of presentations – I tried to extract a clear narrative for clarity but that left some emerging strands of activity and reading unaccounted for. I now wish I had provided a complete overview at the risk of being incomprehensible or incoherent in the time available. There is always the blog for those who want to explore further. I also feel that presenting process is as important as presenting content. Possibly also atmosphere by which I mean a broad sense of attitude and feeling around a practice which is not directly stated but which comes across. I think some presentations were good at atmosphere. Being analytical but also having an atmosphere is a question of balance perhaps.
Outside the formal presentation how do I create and maintain ‘atmosphere’ as a factor within my practice? Is this a kind of mental architectural space, or is that notion of space a kind of memory loci – walking through a space and remembering things. Creating architectural spaces for certain kinds of thought. Architectural simulation packages. Virtual reality – including audio. 3D audio is a great way of generating a sense of space and atmosphere.
Possible collaboration with an architect or architectural practice?
Janet Cardiff’s audio walks
a kind of conceptual blend in which a layer of sound is overlain an urban walk.
Is trace a fundamental aspect of intermedial processes – that which is passed on as a trace?
Paul Sietsema is a good example of an artist using intermedial processes
Jacob Kierkegaard’s room tones (Chernobyl)
relation to Whitereads rooms. each have their signature.
Cast relation to forensics (wall marks) and photogrammetry.
Blending seems to be a core gesture of spectrality – temporal and spatial
Hamburger Bahnhof – Museum für Gegenwart – Berlin
SCORES, the latest in the series Works of Music by Visual Artists, is an exhibition and concert project devoted to the musical score, a subject that gets constantly re-examined in the visual arts as well as in music. Particularly since the 1960s, the score has been appreciated, above and beyond conventional musical notation, as a multivalent medium of recording which may take the form of spontaneously free drawings, individual symbolic systems, or instructions for activities.
With projects by Saâdane Afif, Christian Marclay, Ari Benjamin Meyers and Jorinde Voigt, the score theme now becomes the focus of an exhibition accompanied by concerts. Despite their differing approaches, all the selected artists are interested in the transformation of one medium into another, a process that is accomplished in close collaboration with the participating musicians. The scores are presented as drawings, objects, lyrics, graphic-photographic-film notation, and as concepts that generate musical events and performances. Almost all of the works presented on a grand scale in the Rieckhallen of the Hamburger Bahnhof have been recently created on commission; they will be performed, piece by piece, in the spaces in which they are exhibited.
Vice de forme: Das Kabarett, a work developed by Saâdane Afif together with the composer Augustin Maurs, will be presented in both an opening event Vice de forme (First Notes) and a concert Vice de forme (In Songs) on the last day of the exhibition. A Yamaha player piano will play First Notes, recorded at the opening, during the exhibition.
Christian Marclay’s new comic book To Be Continued will be performed by ensemBle baBel. Also on view by the artist is the video Screen Play and the slideshow Zoom Zoom, which both serve as musical scores for the ensemble as well as performers Shelley Hirsch and Elliott Sharp. All of these works are being presented for the first time in Berlin.
The first four chapters of Song of the Earth, a projected eight-part cycle of drawings currently being created by Jorinde Voigt, will be on view and partly performed by Ensemble zeitkratzer. Audio recordings from the concerts devoted respectively to the works of Marclay and Voigt will afterward play in their areas of the exhibition.
Ari Benjamin Meyers has developed a series of “Meta-Scores,” inspired by Sol LeWitt’s “Instruction Pieces”; each day, they will be newly translated and performed by the composer Wojtek Blecharz and the flautist Susanne Fröhlich. On the exhibition’s last day, all the interpretations created and rehearsed during the exhibition will be performed once more, now by heart.
A project by Freunde Guter Musik Berlin e.V.
October 28, 8pm
October 30, 8pm
November 13, 6:30pm
November 13, 8pm
Publisher: New York, NY : Bloomsbury, 2014.Description: 207 pages ; 24 cm.ISBN: 162356509X; 1623567041; 9781623565091; 9781623567040.Note: Includes bibliographical references and index.
Publisher: Köln : König, 2014.Description: 215 pages : many illustrations (chiefly colour) ; 32 cm.ISBN: 3863354052; 9783863354053.