In just a few weeks, Cristiano Bocci and I will be releasing our second collaboration, a collection of electroacoustic music and field recordings exploring the audio topography of atopias, or non-places–public spaces we pass through, use and leave behind more or less anonymously. To accompany the release I’ve written an essay that has just been published on Arteidolia. With photographs by Randee Silv.
Francis Picabia: Portrait of the Ironist as Nihilist, in Arteidolia. The first writing I’ve done on visual art for Arteidolia. With more to come.
Image of a detail of Parade amoureuse by Randee Silv.
New in Arteidolia, some thoughts about encounters in public spaces, inspired by dancer Alison Ball’s performance in choreographer Daniel McCusker’s “Hey!”
Image by Randee Silv
New, in Arteidolia:
Imagining Barnett Newman While Playing Long Tones
Think of a performance on a string instrument consisting of long tones bowed with long pauses in between. Imagine at the same time a typical zip painting by Barnett Newman. A parallel immediately comes to mind: The one structures sound and time in the same way that the other structures the visual field and space…
In Arteidolia, a piece analyzing the structures of meaning in Fossil, a piece performed during the 2011 season by the Nancy Havlik Dance Performance Group.
Photo by Roman Sehling.
In the January Arteidolia, a new article on what it’s like to improvise music, and how we reveal something of ourselves in doing so.
Artwork by Randee Silv.