IMPROVISED INSTRUMENT AND A SOUND PERFORMANCE
LOCATION: L’AUDITORIUM, CITE INTERNATIONALE DES ARTS DE PARIS
YEAR: 2016 STATUS: completed
PERFORMANCE: (15 minutes) music composed for a saxophone, a Chinese harp, a double bass and an improvised instrument
TECHNIQUE: wood, piano chords, spray and aluminum
DIMENSIONS: 150 x 75 x 255 cm
IN COLLABORATION WITH: COMMISSAIRES D’EXPOSITION ASSOCIES – CEA (curators) / Luise Volkmann (Composer, Saxophone) /
Anne-Elisabeth Decologne (Double bass) / Yaping Wang (Chinese harp)
EXHIBITIONS: MONSTERS (Paris, 2016) / LE MYTHE EST UNE PAROLE (Paris, 2016) / Sound Performance, Luise Volkmann OPEN STUDIO (Paris, 2016)
+
In his text Racine est Racine, Roland Barthes describes a mythology that is defined by the presence of tautologies in art and how this notion estranges, by the means of its constant aggressiveness, critical analysis from all art piece that is considered a classic. Academics tend to enshrine classics, transforming the inherent structure of these pieces into flat acontextual figures and synthetic shapes without form. If art is supposed to question reality by the means of critical thought, this tendency of enshrining classics is more related to the methods of religion – when it imposes the cult around a conclusive interpretation of reality. By making a credo out of its classics, academics diminish the universal aspect of these singular works by not allowing their central structure to be confronted with contemporary language. For their take on Barthes’ text, Luise Volkmann examines, from a contemporary perspective, the universality of Charlie Parker’s statement by translating his music landscape into an expression of her own. On the other hand, Yuri Leonardo creates the equivalent by constructing a silent object that becomes an instrument when performed along Volkmann’s composition.
YURI LEONARDO 