The unfolding of “Partiture” into displaced fragments of material as flat surfaces can expand the work into new musical readings that can be offered to musicians to provide possible interpretations or improvisations in situ. At the end, the dismantling of the work continues as a performance “Undo” until the piece has disappeared into into its component parts on the floor. (Juliana Herrero)
The artificial, floating landscape captures the original abstract composition (which is a crystalline sound aesthetic resulting from the moment-to-moment decompositions recorded during the weaving of the wire nets were recorded). Starting from this basic carpet sound, the acoustics of the materials are overlaid with new sound sequences in free play, the text files of various meta-scapes (digitally found materials) and others from my archive. from my archive become audible. The transience of their possible realities will be subjected to the interplay with the reality of the space and the reflections of the audience. and the reflections of the audience. Where the piece crystallises, a field of tension could between virtuality and physical reality, underlining various connections and fosters different modes of production that are at the crossroads of cultures, languages and borderlines of disciplines, linking art and life.
In context of the exhibition KLANGKUNST UND NOTATION with works by Eunice Artur (Lissabon), Juliana Herrero (Wien), Jutta Ravenna (Berlin) and Salomé Voegelin (Berlin)
Exhibition with Notations, Sound installation, Performance, Blog und Discourse in the Errant Sound Gallery (curated by Jutta Ravenna)
(2017) From One Crystallon To The Pampia, REM, Bildraum 01 /// Performing Undo REM, Bildraum 01
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Photos © Julia Cremmers