The Exhibition “Une musique intérieure” questions our perform, our language, and our voice as 1 would the stability of our internal ear as instruments that stabilise our intimate romantic relationship with the outside world. The exhibition “Une musique intérieure” (Internal Songs) is the new framework for the score Solo – Nature Review Notes – 1969-2019 [Athens Version] created and done in collaboration with Georgia Sagri, Delia Gonzalez and Serapis Maritime in early summertime 2021. This rating was created in Greece by using freely readily available improvisation rites (prose guidelines) exercising the open up resource basic principle of the 1960s English collective, The Scratch Orchestra. The outline of the exhibition’s floor prepare at the Scorching Wheels gallery in Athens, where this function was 1st exhibited, is superimposed onto the Tabakalera house. Also, the clothes intended by Serapis Maritime for the performance is printed with photos from the Greek gallery and verbal instructions of the rites. Solo – Nature Analyze Notes – 1969-2019 [Athens Version] 2021 seeks to interrogate the romantic relationship in between the specific and the collective. The rating aims to obtain the activation of diverse rites by way of the apparel worn by one particular person (a solo performer) who animates the recommendations, thereby shifting the development of the social body on to the somatic formation of the particular person. On the other hand, the audience (a collective) is then placed in free circulation all around this activation so that the team is additional afflicted in its energetic listening or passive behaviour. The exhibition at Tabakalera calls on the scores of composers who were pioneers in their interest to contexts, this kind of as Alvin Lucier (Chambers, 1968), Pauline Oliveros (Deep Listening, 1989), and Milan Adamčiak (Floor scores, 1967). As Erik Satie presently emphasised in his Musiques d’ameublement (Carrelage phonique, 1917), interiority is colonised by social guidelines. It is the political level of determinism and the instrumental character—in the double sense of musical instrument and software of manipulation— that artists, these as regional artist Amable Arias or a new technology of artists these kinds of as Eva Barto, Mattin, Matthieu Saladin, and Cally Spooner, specify in this exhibition which is available to the public as a chamber tunes live performance.
— Pierre Bal-Blanc
Curated by Pierre Bal-Blanc, in conversation with Oier Etxeberria.
Participating artists: Milan Adamčiak, Amable Arias, Eva Barto, Delia Gonzalez, Daniel Grúň, Alvin Lucier, Mattin, Pauline Oliveros, Ga Sagri, Matthieu Saladin, Erik Satie, Scratch Orchestra, Serapis Maritime, Cally Spooner and Vier5.
At Tabakalera, Donostia / San Sebastián
right up until April 24, 2022