3. Mai bis 17. Juni 2012
Milan Adamčiak (SK), Annegret Heinl (DE),
Patterson (USA), Jan Steklík (CZ)
Orilické galerie, Jiráskova 2, 516 01 Rychnov nad Kněžnou, Cz
Öffnungszeiten: Täglich außer Montag 9 - 13 h + 14 - 17 h
opening hours: daily except Monday 9 - 13 h + 14 - 17 h
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| Jan Steklík |
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| Annegret Heinl |
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| Annegret Heinl |
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| Milan Adamčiak |
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| Annegret Heinl & Jan Steklík |
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| Ben Patterson |
SCORES
FOR EVERY OPPORTUNITY
When
in 1969 John Cage published the book Notations (Something
Else Press, 1969), a collection of more than
250 scores by various composers and intermedia artists,
it revealed not only the individual writing styles of the
artists included, but also the limits of traditional notation, which
was not suitable for the dynamic developments taking
place in music nor for the deconstructive practices
of the avant-gardes. Some 20th century experimental musicians
and composers began interpreting the non-musical
visual structures and patterns of modern abstract paintings
using tones and sounds. Modernist artists, who
abandoned conventional representation and started to
create abstract compositions through line, colour, and pattern
derived from nature or mathematical and geometric structures,
were right along side them. Both tendencies became
especially strong in the Fluxus, concept, and minimal
art movements and survived in various neo-conceptual forms
and strategies.
Scores
for every opportunity proves that the
current interest of
musicians and visual artists in non-standard representations of
sound structures and processes is still very much
alive. Here, two essentially intermedia artists with musical
backgrounds, Ben Patterson and Milan Adamčiak, meet
two visual artists interested in actual music, Jan Steklík and
Annegret Heinl, in order to demonstrate to us a
possible music which resigns on the pragmatics of musical notation
on behalf of open reading and playful aesthetics without
interpretational restraints. Five shivering lines of
stave, liberal and witty instructions, as well as rhythmized visual
structures vibrate with meaning that goes beyond
the framework of conventional music associations. Thus,
they offer the empathic viewer the possibility to
realize his/her own music in myriad ways. Music that anticipates
its notation simply confirms the thesis according to
which a work of art cannot be a mere emballage of
information. Knowing that the possibility for arbitrary and
unconventional realization exists is apparently more than rigid notation!
Jozef Cseres, April 2012
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