Inter-section, Inter-media, Inter-action:
An introduction to alternative compositional procedures and the performance of graphic scores
Conducted by Guillermo Gregorio
Saturday and Sunday 10/11/08 and 10/12/08, noon-4PM
This is an interactive workshop for composers, musicians, and visual artists interested in alternative methods of composition and the intersection of visual and musical experience. Based on the history of the relationship between music and visual art in modern times, Gregorio will introduce historical and contemporary approaches to the application of graphic notational systems for music composition, interpretation, and improvisation. Workshop participants will explore and create such visual structures, and those with instrumental proficiency will perform them.
For more information, please visit: http://www.exsost.org/workshops/
Karen Lebergott: Magic Mountain
September 12 – November 2, 2008
Audible at ESS
5925 N Ravenswood
Chicago, IL 60660
open Saturdays and Sundays, 1PM - 5 PM, or by appointment
http://www.exsost.org/public-presentation/audible/
In her new installation Magic Mountain, Chicago artist Karen Lebergott interweaves the everyday and the dramatic and explores their inextricability through storytelling, repetition, and nostalgic reference. An old German diary, in which an anonymous writer recounts her journey through the Dolomite Mountains and her wishes for a son’s hopeful future, forms the basis of an installation that combines videotaped readings from the diary with carbon-paper drawings of romantic alpine mountain peaks. These images and stories, as well as the content and associations they reveal, are ephemeral, delicate, and even banal at the surface, but profound at their core.
Gustavo Matamoros and Rene Barge: Cardinal Points
September 21 – November 30, 2008
Lincoln Park Conservatory’s Fern Room
2391 N. Stockton Drive, Chicago
open daily, 9:00AM - 5:00PM
free admission
http://www.exsost.org/public-presentation/florasonic/
Miami artists Gustavo Matamoros and Rene Barge have recorded the vibrations of tiny objects, transformed them to emphasize their surprising range of timbre, and arranged them into a “virtual space” among the Fern Room’s four loudspeakers. The sounds are like characters — we hear the way they sound from their own perspective, and they move about the space, communicating with each other and directing the listener’s attention from the center of the room out to the four corners of the space and beyond.
