During one of my long walks this weekend, I stopped in at Crown Point Press and found in the hallway several prints from Changes and Disappearances by the composer John Cage, a hero of ours here at CatSynth. My first impression was that these were graphical scores (i.e., scores where the performers interpret visual images), but they are in fact intended as independent works of visual art. However, many of the same compositional techniques can be found in both Cage’s music and visual art, as described in this essay by Ray Kass:
It occurred to me that his etchings had an extraordinary correspondence to the methods he utilized in composing his music – and that they were visual counterparts of sorts, related in a manner that one might not have expected…But the connection between Cage’s use of “chance” methodology in his various kinds of work (composing, writing, installation & performance art, & now printmaking) made sense in a way that awakened me to the great scope of his work.
I don’t think this was a special exhibition per se, as Cage had a longstanding relationship with Crown Point Press and they have displayed his work on several occasions. The main exhibition was a series of works by Tom Marioni.
Both Marioni and Cage were featured in The Art of Participation at the San Francisco Museum of Modern Art (SFMOMA). Among the works in the exhibition were Marioni’s Free Beer (sadly, no free beer was being dispensed at the time, even though it was “Superbowl Sunday”), and John Cage’s most famous piece 4′ 33″. The full score was posted on a wall, and it was also displayed on a grand piano in its original form. I can’t say this was presented as a “participatory work”, however. Simply looking at the piano and listening to the museum commotion for the alloted time does not constitute a proper performance of the piece.
There were, however, plenty of other interactive pieces in the exhibition to explore, such as Lygia Clark’s Diálogo: Óculos (Dialogue, Goggles):
Last week, I attended an evening of electronic-music performances at the Climate Theatre, part of the regular Music Box Series. This series usually does not feature electronic music, but this time they darkened the room and presented “electronic soundspaces.”
Christopher Fleeger opened the evening with lively performance featuring a touch screen, percussion controller and laptop. The music mixed synthesized and other familiar electronic sounds with some odd and amusing recordings, such as a rap extolling the virtues of Tallahassee, Florida as a center for faiths of all kinds, and a very memorable piece of “stand-up tragedy” about one man’s experience with “the store” – in the poem, every line ended with “the store” and often included other references.
The second performance was by James Goode and featured a mixture of acoustic sources (percussion, toys, etc.) with sampling and looping, and reminded me a bit of my own performances at the Santa Cruz Looping Festival and other venues (it reminds me that I haven’t written about that). It can sometimes be a challenge to sustain full energy for an entire solo set of this nature, but Goode made this seem easy.
Goode and Fleeger closed with an extended duet improvisation. At least one balloon went flying into the audience.
I also attended the Saturday performance of the 2009 San Francisco Tape Music Festival, which I will discuss in a separate article.