Four electric guitars are suspended from the ceiling. They cast shadows. Four amplifiers are connected, sound proofing materials have been used. No sound but the sounds from the street. The stage looks unoccupied.
The installation "It Swung Back and Forth, Back and Forth Until Forever. Then it Stopped and it Howled Endlessly" takes theinstructive composition score Pendulum Music by Steve Reich as a starting point. Pendulum Music was premiered in 1969 at The Whitney Museum of American Art, performed by Richard Serra, James Tenney, Bruce Naumann and Michael Snow.
Forty years ago the minimalist Reich used microphones, now Dave Allen shifts the feedback back to rock music, using electric guitars. Their differing sound oscillates between its avantgarde minimalist background and the experimental roots of rock. The installation in its stillness creates associations; changes of directions, new connections of sound. From minimal music to contemporary experimental noise music, from Steve Reich to Pete Townshend‘s auto-destructive stage antics, to Jimi Hendrix‘s wailing star spangled banner.
In this installation the guitars never hung on musician‘s shoulders, and were never played. At the opening they will be pulled back, by four performers, and allowed to swing. They will swing back and forth, creating a feedback at the point they pass their amplifiers.
The performance lasts until the guitars come to rest.
Dave Allen *1963 Glasgow/Scotland lives and works in Stockholm/Sweden. Allen works in a variety of media: installation, drawings and video which are concerned with the myths and histories spanning musical genres. His recent exhibitions include: ProjecteSD, Barcelona; Magazin 4, Bregenzer Kunstverein and The Secession, Vienna.
Many thanks to: Bettina Allamoda, Paul Davis, Micz Flor, Michael Lapuks, Annette Maechtel, Julia Rahne, Raimer Stange
Exhibition supported by Konstnärsnämnden / The Swedish Arts Grants Committee
ALLE WAREN REDUZIERT / ALL THINGS/EVERYONE REDUCED by Christine Kriegerowski
Diaschau, 2004/ Video 2011 3:57, Ton: Uli Ertl
für die Ausstellung fast „fast um$onst“, fotografisch literarisch, Titel und Thema "ALLE WAREN REDUZIERT", Bestandsaufnahme der maßlosen Angebote und angemessen-maßlosen Forderungen auf Reklame- und Hauswänden meiner Umgebung. ("Wir reduzieren, alles muss raus", bis "Kapitalismus abschaffen")
All goods reduced/everyone was reduced
slide show 2004/video 2011 3:57 sound: Uli Ertl
photographed advertisements of reductions, special offers, felt impositions, and slogans of appropriately exorbitant demands, "everything must go" until "kill capitalism". No other sound but the Internationale, whistled by Uli Ertl could be thought of.
The Water Music is one of the greatest hits in Baroque music and consists of three suites. In 1717, Händel shook the London music scene when on a boat trip on the river Thames, he delighted the king with his 2nd Suite. “Our Händel”, as the English called their favourite composer at the time, had delivered another smash hit. One could rely on the Elton John of the Baroque age.
The Daily Courant of July 19, 1717:
“On Wednesday evening, at about 8, the King took water at Whitehall in an open barge ... many barges with persons of quality attended and went up the river towards Chelsea. A city company‘s barge was employed for the music, wherein were 50 instruments of all sorts, who played all the way the finest symphonies, composed express for this occasion by Mr Händel, which his Majesty liked so well, that he caused it to be played over three times ingoing and returning.”
The robot orchestra will contemporarily reenact the historical performance on a river boat. With electronic bleeps and baroque choreography the robot orchestra revitalizes the probably best known suite of the Water Music, Suite No. 2, in D Mayor.
Suite Nr 2 contains two dances – Menuet and Bourrée
The movement of the robots is directed by dance scores spread out on the ground. The robots are equipped with light sensitive sensors which allow them to move along the drawings.
The robots improvise within the scope of Händel‘s composition, with the help of Euler‘s music theory. Euler (1707-1783) is a contemporary of Händel.
The methods described in Leonhard Eulers essay “Tentamen novae theoriae musicae” from 1739 set up the foundation for the improviations of the robot orchestra. In his music theory Euler describes mathematical methods for concord and dissonance problems.
Eulers music therory suits well here, because there the ratio of frequency intervals play a major role. The robot orchestra uses the musical score of the Petrucci Music Library.