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  Last changed - (French time): 2016/09/27 08:25     > Recent changes

 

This revision is from 2016/08/26 19:48. You can Restore it.


listening, auditoria, audiences / écoute, auditeurs, auditoriums : — Studies




AUDITORIA


étude / study



EARLY WORKS (LAURIE ANDERSON)
(1971-1978)





Cette série explore les œuvres prenant la notion d'auditorium comme principe /
This series is a study about works based on principles of auditoria.

• COMPOSING THE NOW (Michel Waisvisz) - 2003 — read /lire
• JULES VERNE - (Auditoires, Noise et Aventures Acoustiques / ''Audiences, Noise and Acoustic Adventures'') - XIX° — read /lire
• BREATH (Gerald Shapiro) - 1971— read /lire
• THE HANDPHONE TABLE (Laurie Anderson) - 1978— read /lire







cliquez sur les images pour les agrandir


1971-1979 — New York Times horizontal/China Times vertical(Edit)


Laurie Anderson crée ses premières sculptures entre visuel et concept, dans lesquelles la structure formelle et la relation au monde sont intimement imbriquées, en tressant divers journaux (le New York Times et le Sunday pour Seven Weekends en mars 1972, ou encore le New York Times et le China Times).

../files/articles/anderson/1971_nyc.jpg



1972 — An Afternoon of Automotive Transmission(Edit)


Rochester, Vermont - concert of automobile horns
In the early 1970s, she started creating and presenting her first performance pieces such as
Automotive, a “concert” of car horns in an open space in 1972. There was a symphony for car horns and autoparts entitled An Afternoon of Automotive Transmission.
— —
An Afternoon of Automotive Transmission, which Anderson describes as ‘really horrible’, was her first outdoor spectacle. Performed in Rochester, New York, this happening was envisioned as a summer concert for automobile and truck horns. The whole event has a humorous tone featuring musical compositions such as: ‘The Well-Tempered Beep’, ‘Concerto for Land Rover with Six-Cylinder Backup’, and ‘Auto-Da-Fé’. Even though mostly preoccupied with sound, this performance also inverts common spatial delineation by reversing the traditional relationship between the audience and the performers. Every summer regular musical concerts would be held in the Rochester Park, with musicians playing in the park’s gazebo and the audience seated on the surrounding grass. Also part of the local custom has been that the audience applauds the summer concerts by blowing their car horns. Anderson places the audience in the gazebo and the performers – drivers and their cars – around it. Reversing the positions and performing the concert of car horns, Anderson subverts the conventions of a traditional communal event and turns it into a happening of avant-garde defamiliarisation.(Silvija Jestrovic, From the Ice Cube Stage to Simulated Reality: Place and Displacement in Laurie Anderson’s Performances, [Source]







   
   
   
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