Edgardo Rudnitzky presents “Nocturno”, a sound installation composed by 15 monochords and a series of candles that dimly lit Proa’s Auditorium.

More information
Edgardo Rudnitzky

Joseph participated in the International Symposium John Cage that brought together leading researchers and experts to discuss the composer’s work. The meeting was organized by Teatro Colón / Colón Contemporáneo and Fundación Proa.

Fundación Proa and Teatro Colón / Colón Contemporáneo announce a symposium to be held on the occasion of the Tribute to John Cage. In the 100th anniversary of his birth. The encounter deepens on his work and legacy and invites personalities from the arts and theory fields covering the different aspects of Cage’s life and work.
.
Director: Martín Bauer
Coordinator: Pablo Gianera
Producer: Juan Martín Ibarlucía

Thursday, September 13 & Friday, September 14, 2012
From 2 to 7 PM.
Auditorium of Fundación Proa

Special guests
: Branden W. Joseph, Henning Lohner, James Pritchett, Luis Chitarroni, Pablo Gianera, Hugo Petruschansky

In collaboration with Teatro Colón / Colón Contemporáneo
Supported by Tenaris

For further information and enrollment: coloquio@proa.org.
Open enrollment from Friday 24  august to monday 3 september.

Conferences:
Branden Joseph: HPSCHD in retrospective
Henning Lohner: John Cage and the visual music
James Pritchett: John Cage’s silent piece(s)
Luis Chitarroni: John Cage and Literature
Pablo Gianera: The recovery of the natural beauty in John Cage’s art
Hugo Petruschansky: John Cage and Marcel Duchamp within a historical context

Speakers:
Branden Joseph
Professor of Modern and Contemporary Art at Columbia University, where he specializes in practices that cross medium and disciplinary boundaries between the visual arts, film, and music. He is the author of Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone Books, 2008); Anthony McCall: The Solid Light Films and Related Works (ed. Christopher Eamon; Steidl, 2005); Random Order: Robert Rauschenberg and the Neo-Avant-Garde (MIT Press 2003); and, most recently, The Roh and the Cooked: Tony Conrad and Beverly Grant in Europe (August Verlag, 2011). Additional writings—which include numerous essays on Andy Warhol and John Cage, as well as writings on contemporary artists such as John Miller, Angela Bulloch, Lee Lozano, and Josiah McElheny—have appeared in a wide range of scholarly journals and museum catalogues and been translated into eight languages. Joseph is also a founding editor of Grey Room (MIT Press), a journal of architecture, art, media, and politics, which published the special issue “New German Media Theory” in 2007
Henning Lohner
The German composer and director Henning Lohner worked with John Cage during the 1990s, for the realization of one11, One hundred and three (the last work Cage) and “a film with out subject”. In 1993 he published The Revenge of the Dead Indians: In Memoriam John Cage, a documentary on Cage organized departing from chance techniques, which he begun producing with the composer and concluded as a tribute after his death in 1992.
Also, Lohner  made ​​over 100 films and 40 feature-length documentaries on influential contemporary artists and  scientists. His work wasshown internationally in numerous festivals and museums including the Centre Pompidou, the Guggenheim Museum (New York) and the Museum of Modern Art in San Francisco.

James Pritchett
American musicologist. Friend of John Cage since the 80′s, wrote in 1988 The Development of chance techniques in the music of John Cage, 1951-1956, the first study of the development of techniques of chance in the work of Cage, made from manuscripts, notes and scores of the composer. In 1992 he edited The Music of John Cage, to date, the only complete catalog of Cage’s work. In turn, Pritchett has written introductory notes for numerous recordings of works by John Cage, and published papers on the pianist and composer David Tudor.

Luis Chitarroni
Born in Buenos Aires in 1958. He is a writer, critic and editor. Contributed to several national and foreign media. He is the author of the novels El carapálida and Peripecias del no, of the collection of essays Mil tazas de té, and the anthology Siluetas. He trained as an editor in Sudamericana publishing house, with Henry Pezzoni, and worked there for over 20 years. Currently he is responsible for publishing the editorial catalog of La Bestia equilátera. He received the Editor of the Year Award 2012. He is a regular contributor to newspapers and cultural magazines.

Pablo Gianera
Born in Buenos Aires in 1971. He is a journalist writing critisim on music and literature. Works in cultural magazine AND , from La Nacion newspaper. Teaches at The Manuel de Falla Conservatory of Music  and also serves on the Executive Board of the Journal Diario de Poesía. He wrote Formas Frágiles, a  book of musical essays published in 2010.

.

.
Hugo Petruschansky
Professor of History of Contemporary Art at Universidad de Buenos Aires and Instituto Universitario Nacional de Arte. He has taught at universities in Europe and the USA and has published numerous critical texts in books, magazines and catalogs. He is currently an independent curator and collaborates with “La Nación” and “Ámbito Financiero” and the magazine “Reporte Publicidad”, among other media.
.

.

In collaboration with Teatro Colón / Colón Contemporáneo
Supported by Tenaris
-
Tribute to John Cage in the 100th anniversary of his birth: Colón Contemporáneo

]]> http://proa.org/eng/events/2012/08/international-symposium-john-cage-in-the-100th-anniversary-of-his-birth/feed/ 2 http://proa.org/eng/events/2012/08/fundacion-proa-participates-in-the-tribute-to-john-cage-in-the-100th-anniversary-of-his-birth/ http://proa.org/eng/events/2012/08/fundacion-proa-participates-in-the-tribute-to-john-cage-in-the-100th-anniversary-of-his-birth/#comments Sat, 25 Aug 2012 19:27:02 +0000 http://proa.org/eng/events/?p=736

-
In the centennial of John Cage’s birth, Fundación Proa participates in the celebrations organized in Buenos Aires by Teatro Colón / Colón Contemporáneo: The Tribute to John Cage in the 100th anniversary of his birth, coordinated by Martín Bauer, presents concerts, conferences, screenings and talks with the presence of international guests.

-
From September 11 to 22, several activities will take place at Proa’s Auditorium as part of the Tribute’s programming: The International Symposium John Cage invites personalities from the arts and theory fields . The Concert 4’33′‘ presents the most celebrated work of John Cage, performed in this opportunity by Lucas Urdampilleta. And Proa Cine programs a series of documentaries and experimental films.

-
.

-

Activities at Proa’s Auditorium:

International Symposium John Cage
Thursday, September 13 & Friday, September 14, 2012

Special guests: Branden W. Joseph, Henning Lohner, James Pritchett, Luis Chitarroni, Pablo Gianera, Hugo Petruschansky
Coordinator: Pablo Gianera

For further information and enrollment: coloquio@proa.org

-

Concert: 4’33” Music for solo piano
Saturday, September 22

Sixty years after its release, Fundación Proa presents the most emblematic work of John Cage: 4’33´´. Performed by Lucas Urdampilleta.

Aug. 29. 1952 by John Cage
For piano by Christian Wolf
Extensions #3 by Morton Feldman
3 pieces for piano by Earle Brown
Premier Sonata by Pierre Boulez
5 Intermissions by Morton Feldman
For prepared piano by Christian Wolf
4 pieces by John Cage
4’33”
30”
2’23”
1’40”
The Banshee by Henry Cowell

-

Proa Cine. Film program:
September 15-22

“John Cage” Dir. Klaus Wildenhahn (1965)
“one11 and 103″ Dir. Henning Lohner (1991-92)
“Chessfilnoise” Dir. Henning Lohner (1988)
“Cage/Cunningham” Dir. Elliot Caplan (1991)
“The Collaborators – Cage, Cunningham, Rauschenberg” Produced by KETC-TV (1987)
“Variations V” Dir. Stan Van der Beek (1965)

* The programming is subject to modification.
.

Thanks to: John Cage Trust / Mode Records
In collaboration with: Teatro Colón/Colón Contemporáneo
Supported by: Tenaris

Pop, Realisms and Politics. Brazil – Argentina
Coordinators: Paulo Herkenhoff y Rodrigo Alonso
International scholars will present their latest developments in their research on the cultural relationship between both countries during the 60s and the 70s, a central topic in the history of Latin American art.

John Cage. 100 Years
Coordinator: Martín Bauer
In the centenary of his birth, Proa organizes special events, conferences and presentations coordinated by Martín Bauer. A unique tribute to the artist, composer and essayist John Cage, a central figure in 20th Century music.

Alberto Giacometti
Coordinator: Véronique Wiesinger
The most relevant scholars and specialists on Giacometti’s work will present their recent researchs in dialogue with local experts. A necessary meeting within the framework of a unique exhibition to be presented at Proa on October 2012.

CINEMA
February / December
Guest programmers
Two relevant Argentine filmmakers are in charge of 2012 cinema program. Each Saturday, they present the films, reflecting and discussing the works selected.
.

April
BAFICI – XIV Edition
Proa hosts the Buenos Aires International Independent Film Festival, one of the most significant cultural events in the city, with screenings and dialogues with international filmmakers.
.

THEATRE
Compañía de Funciones Patrióticas
The theater company directed by actor and playwright Martín Seijo presents new productions, always with a unique performance during holidays or national days. As in 2010 and 2011, the company updates and adapts texts of the Argentine repertoire, discussing the national values, political traditions and economic history of the country.

MUSIC
November
Contemporary Music Concerts – 16th Edition (Teatro San Martín)
A new season of the prestigious festival directed by Martín Bauer will be hosted at Proa. Renowned international musicians present their works in the Auditorium.
John Cage. 100 Years

LITERATURE
September
International Festival of Literature of Buenos Aires
In this edition, Proa invites one of the most personal and compelling voices of contemporary literature in Latin America.
.
.

FNPI + Proa
For over ten years, Proa co-organizes cultural journalism workshops with the Ibero-American New Journalism Foundation (FNPI), inviting the most relevant writers and journalists from the region.
.

PROA TV
Proa’s official YouTube channel presents exclusive contents such as guided visits by the curators, interviews and audiovisual documentation.
youtube.com/proawebtv

.
.

More information:
2012 Complete Program (PDF)
2012 Exhibitions

]]> http://proa.org/eng/events/2012/01/643/feed/ 0 http://proa.org/eng/events/2010/12/interview-with-composer-alvin-lucier-%e2%80%9ci-am-always-on-the-edge%e2%80%9d/ http://proa.org/eng/events/2010/12/interview-with-composer-alvin-lucier-%e2%80%9ci-am-always-on-the-edge%e2%80%9d/#comments Wed, 01 Dec 2010 21:50:38 +0000 http://proa.org/eng/events/?p=583

“When I discuss my plays, I concentrate on technical details instead of the aspect of meaning. Someone once asked American poet William Carlos Williams about the meaning of his poems, he said: don’t ask me with what they mean, ask me about what I have created. My family and I spend our summers in Colorado, and there is a river close by. That river changes color each moment, each day, without meaning for it to happen, but still accomplishing something beautiful and expressive. I would like for the same to be said about my work.”

These words were used by American composer Alvin Lucier to describe himself during his interview at Proa, last November 24, in occasion of the XIV Contemporary Music Concerts, organized by the Complejo Teatral de Buenos Aires, and under the direction of Martin Bauer.

Born in 1931, Lucier has produced music with instruments such as a small vibrating cable (”Music On A Long Thin Wire”, 1977), a clock responsive to its owner’s emotions (”Clocker”, 1978), six glasses (”Small Waves”, 1997), o toy bird (”Bird and Person Dyning”, 1976). For some critics, his most representative work is “I Am Sitting In A Room” (1970), based on the repetition of a recording of a text recited by himself through loudspeakers. The recording and repetition of this playback is done so that it systematically cancels out any trace of the human voice.

Interviewed by critic Gustavo Fernandez Walker, Lucier remembered the moment when he found a personal way of expressing himself. He had been in Germany, in Darmstadt, where he had been to classes by serial composers; and, when he came back to the States, he understood that he could also produce serial music but it wasn’t in him as it was, essentially, an European tradition.

Lucier explains: “I befriended a scientist who was working on a brainwave amplifier and I got to experiment with the gadget. Back then, I was giving a class at university and called John Cage to invite him for a concert. Cage agreed to it as long as one of my compositions was part of the repertoire. I said I didn’t have any. There was an awkward silence. Then, I mentioned my work with the amplifier, who still didn’t work. He said not to mind that and give it a try; which I did. The result was the first work I considered entirely my own. It was a register of alpha brainwaves, which I used for percussion.”

In his own words, the physicality of alpha brainwaves allowed him to avoid falling into the musicality of serial compositions, focusing on more physical aspects of sound. Lucier admitted that the composing process does not come easily to him. “I would like have the right tone everyday. Instead, I have to reason hard to successively eliminate superfluous elements, leaving only what is necessary” he added.

When asked about the changes in work, he mentioned that in the 60s and 70s he worked mostly on works based on material aspects of sound, but from the 80s on, people begun questioning about the possibility of doing instrumental pieces. “I was always very interested by that [instrumental music], because I wanted to be involved in main stream music. I am a composer because I love classical music. So I begun writing pieces for strings, looking to expand the limits of the instrument’s natural sound. I played them in a simple way, without extended techniques. If I use oscillators, is to generate a more vivid sound, Now I work in between acoustic exploration and chamber music, trying hard for each composition to have a beginning and an end, so that they can be played in a concert. I am always on the edge.”

After the interview, Italian ensemble Alter Ego, formed by distinguished European instrumental musicians, played works by Francesco Filidei, Michel van der Aa, Beat Furrer, Georges Aperghis, Rytis Mazulis, Somei Satoh, Jonathan Harvey and Jacob TV. The repertoire included a piece by Lucier himself: “Silver Streetcar for the Orchesta”, triangle solo, a fifteen minute long piece where a percussionist hits different spots of the triangle, exploring the various sounds produced. The work’s title alludes to Luis Buñuel. Lucier comments: “Surrealists hated music and they had fun giving instruments ridiculous names.”

Alter Ego is formed by Oscar Pizzo (piano), Francesco Dillon (cello) and Manuel Zurria (flute). Guest percussionist:  Antonio Caggiano.

Admission: $10
Information: auditorio@proa.org / (011) 4104-1001

Avant-garde composer Alvin Lucier, one of the most distinguished figures in experimental music, will dialogue with Gustavo Fernández Walker on Wednesday November 24 at Proa’ s Auditorium. Later on, the Alter Ego Ensemble will play a selected contemporary music program.

Both events are part of the XIV Program of Contemporary Music Concerts, organized by the Complejo Teatral de Buenos Aires and under the direction of Martin Bauer. The event has the support of Fundación Proa.

Alvin Lucier (1931, EEUU) is a pioneer and key figure in experimental music. His more recent works include sound installations and compositions for solo instruments, camera ensembles and orchestras. In this one-off event, Lucier will discuss different aspects of what is contemporary with Gustavo Fernández Walker.

Musicians Oscar Pizzo (piano), Francesco Dillon (cello) and Manuel Zurria (flute), members of the Alter Ego Italian Ensemble, will be accompanied by percussionist Antonio Caggiano. The program will include the piece “Silver Streetcar for the Orchestra”, composed by Lucier as a triangle solo. The composer said about the work: “I took the title from the Surrealist manifest from 1922 by Spanish film director Luis Buñuel. He gave several descriptions and tittles to all the instruments on the orchestra and named the orchestra’s triangle Silver Streetcar (…). The musician simply hits the triangle during the whole length of the piece (…). That is to say that you hear the triangle in all its marvelous manifestations, extraordinary sounds that you never knew were there”.

Alter Ego will present a selection of pieces little known to the Argentinean audience. Its members are considered internationally amongst the most important instrumental players in the European Contemporary Music panorama. They are known for their collaborations with visual and scenic artists and with pop and rock musicians. They have collaborated with figures such as Irvine Arditti, Salvatore Sciarrino, Philip Glass, Kaija Sariajo, Frederick Rzewski, David Lang and Alvin Curran. They have played at Proa on several occasions since 2004.

Program:
I. 3 bagatelle (2008) by Francesco Filidei
Manuel Zurria (flute) / Francesco Dillon (cello) / Oscar Pizzo (piano)
II. Rekindle (2010) by Michel van der Aa
Manuel Zurria (flute) and tape
III. Voicelessness (the snow has no voice) (1986) by Beat Furrer
Oscar Pizzo (piano)
IV. Quatre récitations (2010) by Georges Aperghis
Francesco Dillon (cello)
V. Puja (2004) by Mazulis
Manuel Zurria (flute) and tape
VI. Incarnation II (1978) by Somei Satoh
Oscar Pizzo (piano) and electronic
VII. Curve with plateaux (1982) by Jonathan Harvey
Francesco Dillon (cello)
VIII. Corroto (1982) by Jacob TV
Manuel Zurria (flute) / Francesco Dillon (cello) / Oscar Pizzo (piano)
IX. Silver Streetcar for the Orchestra (1998) by Alvin Lucier

Contemporary Music Concerts’ complete program at: www.teatrosanmartin.com.ar

With the support of Tenaris – Techint

Video: Piano and Cello contemporary music concert organized by Fundacion Proa, Buenos Aires. It was held at the Swedish Church (Iglesia Sueca de Buenos Aires). November 15th 2007. This is a Morton Feldman fragment.