poniedziałek, 1 kwietnia 2019

Codex Subpartum

Codex Subpartum
Muzeum Sztuki, Łódź
MS2, Manufaktura

12/04 - 09/06

Michał Libera: concept, scores, music (field recordings)
Barbara Kinga Majewska: concept, scores, music (voice)
Konrad Smoleński: sculpture, music (electronics, bomb)
Zinc & Copper: music (Elena Kakaliagou - horn; Hilary Jeffery - trombone; Robin Hayward - microtonal tuba)
Katarzyna Mróz: coordination
Daniel Muzyczuk: curatorial support

13-21.04: Wacław Szpakowski, From the series A: A 1 (1930) 
for microtonal tuba, trombone, voice

23-28.04: Milan Grygar, Score (1973)
for microtonal tuba, trombone, horn, voice, electronics, field recordings

30.04-05.05: Alina Szapocznikow, Drawing 41 (ca. 1970)
for voice

07-12.05: Władysław Strzemiński, untitled, from the cycle: Faces (1942)
for horn

14-19.05: Mona Vătămanu and Florin Tudor, Rain (2005)
for microtonal tuba, trombone, horn, field recordings, found footage

21-26.05: Joseph Beuys, Beuys by Warhol (1980)
for microtonal tuba, trombone, horn

28.05-02.06: Suzanne Treister, HEXEN 2.0/Diagrams/The Computer From the Antikythera Mechanism to Quantum Telepathology (2009-2011)
for microtonal tuba, trombone, horn, voice, electronics, bomb, field recordings

04-09.06: Bob Cobbing, untitled (1976)
for microtonal tuba, trombone, horn


The collection of the Muzeum Sztuki in Łódź includes works containing elements of musical notation as well as instructions for playing music. There are also works called musical scores and works created for musical realization - we do not deal with most of them at the Codex Subpartum Exhibition. This is because music is not only a complement to visual work or the fulfillment of the wishes of its author. Music is an interpretive tool, it is the discovery of hidden codes, texts and contexts, and it is also a way of showing what is usually impossible to see. Therefore, the exhibition is not a visible to audible translation and does not reduce visual works to graphic scores. It is an attempt to transmute the invisible content of images into "visible" - by means of the sound; rather than finding a score on the surface of the paintings - it is the creation of performance voices, the trajectories of musical gestures moving inward. In Codex Subpartum, we use the sound to search for words in Wacław Szpakowski's great-handwriting, memories in the graphics of Mona Vatamanu and Florin Tudor, computational algorithms in Suzanne Treister’s diagrams, or distorting vision elixirs in the works of Bob Cobbing.

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