The artist's emphasis is on concepts and ideas recasting traditional form and meaning. His works mostly remain as projects, “hypothetical actions". The exihibition presents a selection of sound pieces by other chosen artists.
Manifesto Bianco and Sound Pieces
Emilio Prini (b.1943) is one of the key figures in the Arte Povera movement and participated in the first exhibition of Arte Povera works at La Bertesca Gallery, Genoa, Italy, in 1967.
Prini's emphasis is on concepts and ideas recasting traditional form and meaning. His works mostly remain as projects, "hypothetical actiz Emilio Prini's Manifesto Bianco, is part of a project realised in 1981 and has not previously been exhibited.
Prini has through the years deliberately kept his participation in exhibitions to a minimum.
Together with Manifesto Bianco, SoundArtMuseum will present a selection of sound pieces by chosen artists: Vito Acconci, Bruna Esposito, Dan Graham, Phill Niblock, Annie Ratti, Michael J.Schumacher and Stephen Vitiello, all representing an area of research between sound and vision.
Radioartemobil in Rome, contains the SoundArtMuseum and is dedicated to sound and vision. SoundArtMuseum houses one of the most extensive collections of sound art in Italy.
In 1968, composer Karlheinz Stockhausen discovered a method of composition he was to call intuitive music. For a score he offers the musicians only a text as a direction. The freedom implied here may seem to allow random interpretation by the performers, but randomness was far from Stockhausen's mind. He once said that he was not seeking indeterminacy, but an "intuitive determinacy" which would create the music. Stockhausen's intuitive music thus became the formative inspiration for the Ensemble faor Intuitive Music Weimar, which was founded in 1980.
During the time of the German Democratic Republic (East Germany), the musicians of the ensemble felt compelled to explore officially tabooed and "useless" areas of musical expression. The group's activities began in an unlawful gallery in Erfurt, continued in numerous churches, and even rose to performance in the Palace of the Republic in Berlin. The listeners of pre-unification communist half of Germany, whose longing and curiosity were almost unappeasable, followed these excursions enthusiastically. Prior to the political change in 1989 several hundred concerts including Stockhausen's music were given by Efim. Since then the ensemble has performed in more then twenty-five countries in America, Europe and Asia.
In 1990, only after the border opening, did the ensemble give its first concert in the presence of Stockhausen. He wrote afterwards in a letter: "...it was good that I finally heard you in a concert. I would like to thank you all: you kept the intuitive music alive. We will surely go on together to develop this unfamiliar music form." Following an intensive rehearsal phase in May 1991 he wrote: "Thanks for these Whitsun-days: also for me they were extraordinarily instructive, and you are simply four angels! I will help you, whenever I get a chance, to continue in the discovery and clarification of the intuitive music." This fruitful collaboration culminated in 2005 in studio recordings of six intuitive compositions from the cycle 'FAOr kommende Zeiten' under Stockhausen's direction for his Cd label.
Through Efim 's characteristic interrelationship between orchestral instruments (trumpet/flAOgelhorn, violoncello, and piano/organ) and live-electronics, not only do an abundance of new sound structures develop, but some hardly conceivable communication processes are initiated as well. Electronics technology is viewed by the members of Efim as a central component of instrumental discourse, rather than as a mere supplemental accessory. The computer-as-mobile-studio is thereby played as a musical instrument; one which can, through the use of multichannel sound diffusion systems, control the movement of sounds in space.
Opening: March 9th, 6 - 8 pm
Diapason Art Gallery
1026 Sixth Avenue, # 2 - New York