This year’s annual sound. event at the Schindler House was held in cooperation with The Society for the Activation of Social Space through Art and Sound (SASSAS).
Saturday, June 26
Jim Fox, Michael Jon Fink, Chas Smith and Rick Cox
An evening of seductive music by four composers associated with the Cold Blue record label: Rick Cox, purveyor of evocative textures that suspend time as they cycle through lush, dense harmonies; Michael Jon Fink, whose delicate celesta music evokes an unusual sense of inevitability; Jim Fox, a composer of quiet chamber works that are elegant and fragile, lovely and dark; Chas Smith, a composer-instrument builder who constructs massive, shimmering musical textures from unlikely sources, including the pedal steel guitar.
Co-sponsored by MOCA and presented in conjunction with the exhibition “A Minimal Future? Art as Object 1958-1968” on view at California Plaza through August 2, 2004
Saturday, July 24
JOSEPH BERARDI, percussion; MITCHELL BROWN, electronics; WEBA GARRETSON, voice; PETRA HADEN, violin, voice; G. E. STINSON, guitar; KRIS TINER, trumpet
“One strategy the surrealists used to elicit imagery from the unconscious is called the “Exquisite Corpse.” In this collaborative art form, a piece of paper was folded in four, and four different artists contributed to the representation of a figure without seeing the other artists’ contributions. The first drew the head, folded the paper over and passed it on to the next, who drew the torso; the third drew the legs, and the fourth, the feet. The artists then unfolded the paper to study and interpret the combined figure.”
This concert was a musical interpretation of the “Exquisite Corpse” technique at the Schindler House. With the audience in the main courtyard, two groups of three musicians were set up in two different rooms of the house. Both rooms have sliding doors, which are open to the courtyard. One musician played solo for approximately ten minutes. Then a musician in the other room joined in and they performed as a duet for approximately five minutes, at which time the first musician drops out and the second musician performed a solo for approximately ten minutes. The process repeated, alternating solo and duet and room to room, until all the musicians performed. The performance ended with the last solo musician performing a duet of approximately five minutes with the first musician.
sound. 2004 was curated by Cindy Bernard, Joe Potts and Tom Recchion