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


This revision is from 2016/08/28 12:02. You can Restore it.

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


étude / study


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

My childhood was spent listening to other members of the family telling stories about what happened to them. We even have family songs, composed by my twin brothers. Everyone liked playing with words. — (Laurie Anderson)Laurie Anderson commence à étudier le violon à l'âge de cinq ans. Elle est née le 5 juin 1947, à Wayne, dans l'Illinois. Dans sa jeunesse, elle joue au sein de l'orchestre Chicago Youth Symphony. En 1966, elle se rend à New York afin de poursuivre des études d'art. Trois ans plus tard, elle obtient une licence au Barnard College puis, en 1972, une maîtrise à l'université Columbia. Pendant deux ans, elle enseigne l'histoire de l'art à la City University de New York. Afin de financer ses performances, Laurie Anderson collabore à ARTnews et Artforum, des revues d'art pour lesquelles elle écrit des critiques et mène des interviews. Dès 1974, elle obtient plusieurs subventions qui lui permettent de poursuivre plus aisément ses expérimentations artistiques.

I was part of a group of artist/pioneers that included Gordon Matta-Clark, Gene Highstein (sic), Susie Harris, Tina Girouard, Richard Nonas, Dickie Landry, Phil Glass, Keith Sonnier and several other sculptors and musicians. We often worked on each others’ pieces and boundaries between art forms were loose… We were very aware that we were creating an entirely new scene (later known as ‘Downtown’). — (Laurie Anderson)
Born in 1947, Laurie Anderson grew up with four brothers and three sisters in a Chicago suburb. She studied violin and played in the Chicago Youth Symphony but abandoned the idea of becoming a violinist.
After her graduation in 1969, Anderson moved to New York City. In 1970 she had her first solo exhibition at Barnard College (art history studies), where she experienced also the 1968 campus revolt sparked off by the assassination of Martin Luther King Jr. At the School of Visual Arts, her teachers included Carl Andre and Sol LeWitt. In the early 1970s, while immersing herself in Buddhist texts and the writings of the phenomenologist Maurice Merleau-Ponty at Columbia University where she studied sculpture until her graduation in 1972.
Anderson circulated in the downtown New York art scene, making the acquaintance of Joel Fischer, Philip Glass, Gordon Matta-Clark, Keith Sonnier and others. Her sculptures of the period were influenced by the formal idiom of Eva Hesse. Anderson wrote art reviews as a freelance critic for small art magazines in New York City, taught in schools as art history instructor at various colleges, and exhibited at various galleries and museums. Her debut as a performance artist came in 1972 in Rochester, New York, with The Afternoon of Automotive Transmission.

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

En 1972, les premières sculptures de Laurie Anderson sont des tressages de journaux dans lesquels les trames textuelles apparaissent et disparaissent. Elle 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 in March (1972) (composée de journaux réduits en pâte à papier, sculptés en forme en briques disposées en ligne sur le sol), ou encore le New York Times et le China Times).

— — New York Times, Horizontal/China Times, Vertical was constructed by weaving strips of each newspaper together. In 1972, Anderson showed a diaristic piece, Seven Weekends in March, composed of pulped newspapers formed into bricks and laid out in a line on the floor.

Laurie Anderson's "New York Times, Horizontal/China Times, Vertical", 1976 (first conceived 1971) woven newspaper - Laurie Anderson / National Gallery / Los Angeles County Museum of Art
Collage composed of cut, pasted, and woven newspaper strips, 575 x 368 mm
Laurie Anderson's "New York Times, Horizontal / China Times, Vertical" , 1971/2000, woven newspaper backed with mylar, 572 x 343 mm - Laurie Anderson / Sean Kelly Gallery NYC

1972 — Handwriting (Mudra)(Edit)

Toujours en 1972 Handwriting, à partir du langage des gestes bouddhiste, est une compression en papier mâché du New York Times : tous les mots sont agglomérés en un seul signe : une main qui signifie écrire. À la manière de John Baldessari et de Ed Ruscha, elle entreprendra de faire son propre papier pour ses propres livres.

—— The idea of Anderson as a storyteller has footing in both her live performances and her early sculptural work. While she was a student at Columbia studying sculpture Anderson began incorporating Buddhist hand gestures called “mudras” into her pieces. These gestures could have small meanings, like specific words, “writing,” for instance or larger meanings, like higher planes of consciousness.
Anderson’s earliest sculptural works, such as
Handwriting (Mudra) (1972) and New York Times, Horizontal/China Times, Vertical (1971), her interest in incorporating the body and language was already evident. These works were made from manipulated newspaper. Anderson created Handwriting by pressing her hand into newspaper pulp, creating a Mudra, so a Buddhist hand gesture. The pieces therefore have more than even a double meaning being highly conceptual as they are actually words (the mudras) made from other words (the printed information on Anderson’s daily copy of the New York Times).

1972 — An Afternoon of Automotive Transmission(Edit)

En 1972, Automotive, l'une de ses premières performances, consiste en un concert de klaxons de voitures présenté dans le parc de la ville de Rochester, dans le Vermont.

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.
Renting a house in the North Hollow with downcountry friends, she exhibited her creative way of looking at things by drawing together 10 automobiles, which she called
the Horn and Engine Society, and leading them in a "musical" performance that required them to blow their horns at the correct time. The concert was held Aug. 26, 1972. Despite threatening skies, the day’s program was attended by about 50 of the curious. Two other composers listed on the program that day included Peter Schneider and Geraldine Pontius.
The White River Valley Herald newspaper headlined "Automotive Orchestra Bows/ In Stunning Rochester Debut," and judged that "Laurie Anderson [...] has been catapulted to recognition as the world’s foremost composer of work for automotive orchestra." "No less curious than the audience was the music," The Herald reported. "Written especially for the tonal possibilities of the autos represented, it was limited to seven notes; and because the Fords all tooted in thirds, the harmonic construction was limited." The Herald reported also that to find her orchestra, Anderson "took to the streets with a tape recorder, asking startled local motorists to toot into her machine. [...] The absense of another vehicle sent the organizers scurrying down the line of assembled spectators, blowing their auto horns until an E-natural was found and pressed into service."
(M. D. Drysdale, Laurie Anderson Gave First Concert On Rochester Park, In The Herald, Jan. 20, 2005 - [Source]
— — 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’, ‘Six-Part Fugue for the Well-Fueled Heretic’, and ‘Auto-Da-Fé’ — “Peter Schneider, attired in a full tuxedo with black tie but without socks, directed his ‘Horn Pipe for Horn and Pipe’ while Geraldine Pontius conducted her ‘Well-tempered Beep.’” — (In Drysdale, “Automotive Orchestra Bows in Stunning Rochester Debut,” White River Valley Herald of Randolph [Rochester, VT], August 31, 1972) —. 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])
— — On one level, Anderson’s Automotive reacts to the dominance of the automobile in American culture, a fact criticized and brought to national attention by Helen Leavitt’s Superhighway - Super Hoax (1970). On other levels, the piece offers a wry reply to the high culture of orchestras and to a regular local event in Rochester. During Sunday evenings in the summer of 1972, the town of Rochester convened on its town green. The high school brass band played in the gazebo, while the audience parked their cars around it and sat there to hear the show. Anderson explains, "The strange thing was that they never got out of their cars. After each number, they honked their horns as applause […] The applause sounded better than the concert". Inspired by the "rich, resonant, loud" sounds of the horns, she decided to write a piece for car horns. Anderson auditioned local owners of cars, trucks, and motorcycles — If you would like to participate in the first Automotive Orchestra please call 767-5331. (No previous orchestral experience necessary). We hope to rehearse and perform this piece soon so please call before August 20. —, and Automotive was performed on Sunday evening, 27 August 1972, on Rochester’s green. She reports, "The concert was performed on the town green but this time the relationship was reversed : the audience sat in the gazebo and the orchestra surrounded it. […] On of the pieces sounded more or less like barking seals but another had the magnificence of an enormous traffic jam" (Laurie Anderson, In Stories from the Nerve Bible)(Philip Nel, The Avant-garde and American Postmodernity, University Press of Mississippi, 2002)

1972 — Chord for a Room(Edit)


Flyer, About 405 East 13th Street#1, 19,8 x 30 cm, mai 1973
Dans plusieurs de ces œuvres dont Chord for a Room (1972) et The Window, The Wind, Oh (1976), Laurie Anderson incorpore des éléments architecturaux pour produire du son.
Chord for a Room a été conçu pour l'exposition organisée par Jean Dupuy à New York en 1972, "About 405 East 13th Street" — (About 405 East 13th Street - page 2)
— Jean Dupuy organise, en mai 1973, son premier événement collectif, une exposition, « About 405 East 13th Street (#1) », pour laquelle il invite trente artistes à intervenir dans et à propos de son lieu (un loft, espace à la fois de travail et de vie) : des interventions minimales, imperceptibles, pour la plupart, où les œuvres présentées ne sont pas à vendre. Les événements « About 405 East 13th Street (#2) » et « About 405 East 13th Street (#3) » auront lieu par la suite en 1974 et 1975. Par exemple en avril 1975, le Philip Glass Ensemble joua Two Pages et Music in Contrary Motion, deux œuvres de Philip Glass).
Chord for a Room n'apparaît pas dans la liste des œuvres de « About 405 East 13th Street (#1) » et dans les différents documents retrouvés. Par contre dans le livre de Jean Dupuy, Collective Conciousness il est fait mention de Spatializing de Laurie Anderson ou alors Chord for a Room a été présenté lors de la seconde édition de cet événement.

— — — — In a number of works, such as Chord for a Room (1972) and The Window, The Wind, Oh (1976), Anderson incorporates architectural elements to produce sound.
Chord for a Room was conceived for the Jean Dupuy's exhibition "About 405 East 13th Street", 1972.
— (In 1972, Dupuy left his gallery to live as a form of art, free of the constraints of the art market. Seeking to work outside of a market that he felt reduced artistic objects to a base monetary value, he began exploring intangible, ephemeral approaches to performance and experiential practice. A year later he held his first collective event, About 405 East 13th Street (#1), where 30 artists participated. Dupuy considered collective work to be a “sampling of contemporary creation” and considered the mix of artists involved to be like a salad, each bringing their own unique voice and creative abilities to the mix. In 1973, Jean Dupuy invited thirty-four artists to participate in the exhibit. The aim of this collective project titled “About 405 East 13th Street”. was to intervene, modify or document the interior and exterior spaces of Dupuy’s loft –following a process that he termed as “spatialisation”. In critic Laurie Anderson’s words, it explored the “description and manipulation of several interior, exterior, and interfacial aspects of the loft. The microscopic and telescopic realignments destabilized the conventional subject-object relationship.” (Laurie Anderson, “About 405 # 1” In Art Forum, September 1973, pp. 88-90) As an example, Gordon Matta-Clark, one of the invited artists, proposed to simply clean one of several window’s pane of glass, thus subtly modifying the relationship between interior and exterior spaces, a gesture that ensured the introduction of light. — (In Xavier Costa, Moments and Situations: The Pavilion and Its Archive, Northeastern University))

1973 — O-Range(Edit)

Dix performeurs avec un mégaphone crient des histoires différentes à travers un grand stade vide.


Town Green, 1973
Lewisohn Stadium, City College of the City University of New York, 1973
sponsored by Vito Acconci
— — "Megaphones were used as the sound system in a large empty sports stadium [ — the Lewisohn Stadium of the City University of New York on 138th Street and Amsterdam Avenue, a large amphitheater demolished only a few months later]; ten performers [Anderson’s students] shouted stories across the field."
(Laurie Anderson)
— — As with the Town Green in Rochester [the Automotive performance], listening was inscribed in the history and architecture of the Stadium, which boasted a history of large-scale musical performances for audiences of thousands between 1918 and 1966. The New York Philharmonic’s program from 26 June 1935 presents a representative medley of pieces: the prelude to Richard Wagner’s Die Meistersinger is followed by Beethoven’s Symphony No. 5, Felix Mendelssohn’s Concerto for Violin and Orchestra in E minor, and Three Dances from the ballet The Three-Cornered Hat by Manuel De Falla. Another typical program, from 1956, opens with directions “in the event of air raid alarm” and features the Stadium Symphony Orchestra in an all-Gershwin evening starring soprano Leontyne Price. O-Range positions the megaphone – and the amphitheater, for that matter – not so much as a musical instrument and more as a technology establishing a listening relationship, commanding attention, and creating a sense of emergency. [...] The conventional function of the car horn and the megaphone as sound technologies of alarm is unsettled by the faux-classical style of Automotive and the feminized storytelling of O-Range.(In Lucie Vágnerová, Sirens/Cyborgs: Sound Technologies and the Musical Body, Thesis Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences, Columbia University, 2016)

— — Artists Space, then located at 155 Wooster Street, presented her debut NYC show O-Range, titled the same, in 1973 [or in January 1974 ? : Laurie Anderson, Don Gummer, Barbara Kruger January 5 – 26, 1974]), for which she was chosen by downtown fixture Vito Acconci for the Artists Select Artists series. For the exhibition, she showed works that paired text and photography in the conceptual style-du-jour with tongue-in-cheek plays on language and food : unframed panels featuring handwritten texts, and black and white photos in a documentation style.

1972-73 — Institutional Dream Series(Edit)

Laurie Anderson qui s'intéresse aux rêves s'installe sur une plage ou un quai de métro, bien fatiguée, pour voir si les siens ont un rapport avec le lieu public où elle s'endort.

../files/articles/anderson/1972_institutionallarge.jpgA personal study of narcolepsy and dreams
In this performance Laurie Anderson slept in various public places to see if the place would affect her dreams. She chose places like public bathrooms, a park bench and the public library.
Institutional Dreams, took place across New York City, including at 100 Centre Street and the South Street Seaport in Lower Manhattan. For this series, Anderson would sleep in public sites, from Columbia University to Coney Island, as an experiment in gauging “if the place can color or control my dreams.” At the night court of 100 Centre Street, Anderson slept in one of the pews and was photographed doing so by her friend Geraldine Pontius. Her handwritten note that accompanies the slouched, sleeping portraits. Anderson notes that her dreamscape was influenced by her peaked knit cap, which alternately obscured and shown the courtroom’s light onto her face; her impressions distinctly affected by the environment in which she positioned herself. Anderson’s rather routine dream descriptions for Institutional Dreams have a resonant charge in their specific connection to impressions of place and the way they distinctly frame her memories and sensations, on both a conscious and subconscious level. Similar references to dreaming and dream states continue throughout Anderson’s work, in both her song lyrics and performances.
Source : http://lmcc.net/place/creative-insiders-laurie-anderson/

Photo by Geraldine Pontius
Coney Island January 14, 1973
I lie down near the water which is at low tide. It is bitterly cold and the sand is damp. I pull my turtleneck sweater over my face. After several minutes I begin to relax and lose consciousness. I am trying to sleep indifferent public places to see if the place can color or control my dreams. At the moment this seems like a crazy idea. I can hear the tide coming in. The water is beginning to cover my frozen feet. I’m not sure whether I’m asleep or awake so I keep my eyes shut tight. After a couple of hours I hear a loud rushing drone. It sounds like giant wave is rolling toward shore. I jump up and start to run. A large helicopter is hovering directly overhead.
Photo by Geraldine Pontius
Photo by Geraldine Pontius
South Street Seaport | The “Lettie G. Howard” starboard berth December 10, 1972.
I lie down in the starboard berth and dream about a white desert in which every plant was labeled in tiny writing.
Photo by Geraldine Pontius
Women’s Bathroom | Schermerhorn Library, Columbia university April 3, 1972
I lie down on the couch where I can see the women coming in and out of the bathroom, I put a notebook over my face and place my contact lenses under my tongue. I dream that the library is an open air market and all the stacks are stalls stocked with vegetables.
Photo by Geraldine Pontius
Night Court
100 Centre Street, December 29, 1972
The first case up is Robbery and Assault. The courtroom is noisy and full of people. I rest my head against a wall running the length of the courtroom. I drift off slowly.I have the impression that dark shadows or clouds are scudding across the courtroom just below the ceiling. When I wake up I realize this sensation is produced by the peaked cap I am wearing which, with me head’s periodic bobbing, alternately obscures and reveals the bright lights which hang near the ceiling. I wake up just as the judge is confiscating our camera. “You understand of course blackmail is illegal,” he is saying. But he only makes a show of taking the film out of the camera and then hands it back.

1973 — Fully Automated Nikon (Object/Objection/Objectivity)(Edit)

An artist leaves her studio. She is Laurie Anderson. In the course of a day in June 1973, she takes photographs of the ten men who accost her in the street with what she terms "unsolicited comments of the 'hey, baby' type." She asks permission first. Her accosters are mostly pleased and flattered to comply. She answers their pleasure with banter, smiles, and laughter; does her compliance facilitate the easy, close-up portraits she is able to secure? Later in her studio, she responds to her accosters differently, as if now to undermine their ease; like an investigative reporter preparing an evidential dossier, and mindful of the law, she imposes anonymity on her informants: a wedge of white neatly cuts off their eyes. In this case the gesture seems less protective than offensive; in the name of privacy she inflicts blindness, even a kind of objecthood, on subjects who had started out by treating her that way.
../files/articles/anderson/1973_Nikon3.jpg ../files/articles/anderson/1973_Nikon4.jpg
../files/articles/anderson/1973_Nikon5.jpg ../files/articles/anderson/1973_Nikon7.png
../files/articles/anderson/1973_Nikon8_300.jpg ../files/articles/anderson/1973_Nikon9.jpg

1974 — exhibition at Artists Space, NYC(Edit)

Laurie Anderson, Don Gummer, Barbara Kruger
January 5 – 26, 1974


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