Joseph Beuys und die Musik

2021 ◽  
Author(s):  
Sigrun Hintzen
Keyword(s):  
John Cage ◽  
Unpublished Manuscript ◽  
Joseph Beuys ◽  
Nam June Paik ◽  
Erik Satie ◽  
Grand Piano

Joseph Beuys expanded his concept of art to include listening and conceived of sound as sculpture. Musical material runs through his work from early drawings to late performances. This book breaks down what the acoustic elements in Beuys' works, notations, symphonies and scores are all about. What does Beuys himself do at the grand piano, what are "Erdklavier" and "Innenton"? Beuys worked with John Cage, Nam June Paik and Henning Christiansen, felt close to Erik Satie. At the time, Sigrun Hintzen laid the foundation for research into Joseph Beuys' music. This unpublished manuscript is finally being made accessible to all those who want to get to know and understand "music as an inner disposition" in Beuys' work.

Paik, Nam June (1932–2006)

2018 ◽  
Author(s):  
Chunghoon Shin
Keyword(s):  
Arnold Schoenberg ◽  
Electronic Media ◽  
John Cage ◽  
Alternative Mode ◽  
Art Form ◽  
American Artist ◽  
Japanese Colonial ◽  
The University ◽  
Nam June Paik ◽  
Private Music Lessons

Nam June Paik was a Korean-born American artist who achieved international notoriety for his destructive, neo-dada activities and visionary, esthetic experiments with electronic media. Born to a wealthy family in Seoul during Japanese colonial rule, Paik took private music lessons throughout his adolescence. After moving to Japan in 1951, he enrolled in the University of Tokyo, where he studied music, esthetics, and art history, graduating with a thesis on the composer Arnold Schoenberg in 1956. In the late 1950s and early 1960s, he turned away from the university setting to associate himself with a network of progressive artists such as John Cage and the Fluxus group. While studying in Germany in the late 1950s, Paik began exploring electronic media as an art form. Yet, far from being negative or polemical, Paik’s attitude toward the televisual environment was marked by a radical openness. He explored the esthetic potential of television and video in an all-encompassing way. Paik’s exploration encompassed manipulation of television signals or scan lines, videotape production, television transmission, live satellite telecast, video sculpture, and environment. Yet Paik was by no means naïve or conformist in his approach; instead, he hijacked broadcast signals, redressing one-way communication and rechanneling energy into an alternative mode of communication.

scholarly journals Icons of the Performance Still

2015 ◽  
Vol 1 ◽  
Author(s):  
Sarah Happersberger
Keyword(s):  
Performance Art ◽  
The Public ◽  
Performance Artists ◽  
Joseph Beuys ◽  
And Performance ◽  
Nam June Paik ◽  
Complete Program

Investigating German performance art of the early 1960s, one is immediately confronted with photographs, films, and other documents of two specific events: the so-called Festival der Neuen Kunst, which took place in 1964 at the Technische Hochschule Aachen (TH), and a happening entitled 24 Stunden, realized the following year at Galerie Parnass in Wuppertal. Both events were conceived for the duration of a few hours and included various performances of multinational Fluxus and performance artists like Joseph Beuys, Wolf Vostell, Nam June Paik, Charlotte Moorman, Robert Filliou, Tomas Schmit, and Stanley Brouwn. In Aachen, as well as in Wuppertal, the performance program was based on the principle of simultaneity, so that the public had to switch between different performances and diverse rooms, and no one was able to view the complete program. As proven by numerous photographs, films, and press reviews, both events were attended by several photographers and filmmakers documenting the happenings.

Noise Music

2007 ◽  
Author(s):  
Paul Hegarty
Keyword(s):  
Historical Context ◽  
Experimental Music ◽  
Early 20Th Century ◽  
Main Concern ◽  
John Cage ◽  
Historical Overview ◽  
Free Jazz ◽  
Avant Garde ◽  
Cultural Aesthetics ◽  
Erik Satie

Noise/Music looks at the phenomenon of noise in music, from experimental music of the early 20th century to the Japanese noise music and glitch electronica of today. It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde. While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.

scholarly journals Magnetic Memory: A Day-Long Video Tribute to Nam June Paik

2006 ◽  
Vol 60 (2) ◽  
pp. 12-16 ◽  
Author(s):  
Nicky Hamlyn
Keyword(s):  
New York ◽  
Magnetic Memory ◽  
John Cage ◽  
Yoko Ono ◽  
Nam June Paik

ABSTRACT This review of video work by Nam June Paik traces the artist's origins in the European Fluxus movement before his move to New York, where he lived until his death (in 2006) and collaborated with other artists including John Cage, Charlotte Moorman, and Yoko Ono.

Silence and Void

2016 ◽  
Author(s):  
Dieter Daniels
Keyword(s):  
Visual Arts ◽  
John Cage ◽  
Complex Relation ◽  
Different Types ◽  
Yves Klein ◽  
Nam June Paik ◽  
Bruce Nauman

The notorious “silent piece” 4'33 (1952) by John Cage is a seminal point of convergence for visual and acoustic arts: each performance of the piece offers an acoustic and visual uniqueness, which defies repetition. The equivalent in visual arts is Robert Rauschenberg’sWhite Paintings(1951), credited by Cage as inspirational. Around the same time and without knowing the works by Cage and Rauschenberg, Yves Klein and Guy Debord also created works related to silence, emptiness, and void. This chapter reflects on the similar and different types of absence, reduction, and various kinds of “nothingness” involved in these historical works. The legacy of the “aesthetics of absence” to the present day is presented in a typology of performing, recording, and remediating silence in works by Nam June Paik, Bruce Nauman, Manon De Boer, and others. The chapter also analyzes the complex relation of silence and void in these contemporary practices.

scholarly journals Desconcerto número 1: Paradoxos da Conferência- Performance

Dramaturgias ◽  
2017 ◽  
pp. 18-32
Author(s):  
Aurélio Pinotti, Ana Ferreira Costa, Marco Catalão
Keyword(s):  
John Cage ◽  
Santa Catarina ◽  
Robert Morris ◽  
Joseph Beuys

Tomando como ponto de partida o espetáculo Dislocations, da companhia Nomade, apresentado em março de 2016 na sede do Théâtre du Soleil, em Paris, este artigo é a transcrição de uma comunicação apresentada no dia 26 de no- vembro de 2016, no II Simpósio Brasileiro de Escrita Dramática, realizado na Universidade Federal de Santa Catarina. Seu objetivo é estabelecer um debate sobre o potencial epistemológico do discurso fictício e o efeito performativo do discurso crítico. Tomamos como eixo de nossa discussão a conferência-performance, dispositivo híbrido inaugurado pelas ações de Robert Morris, John Cage e Joseph Beuys nas décadas de 1950 e 1960, e que hoje é uma modalidade importante da criação e da reflexão artística contemporâ- nea. Com características particulares, os trabalhos de Éric Duyckaerts, Joana Craveiro, Hans-Jürgen Frei, Walid Raad, Jérôme Bel e Pierre Cleitman parti- cipam desse gênero híbrido que problematiza as fronteiras entre crítica e invenção, cujas ações salientam ou desvelam os aspectos performativos já latentes em qualquer comunicação para um auditório: a tensão entre as in- formações discursivas e as informações não discursivas; o descompasso entre roteiro e execução; a incerteza da tríplice relação entre o enunciador, o enun- ciado e o espectador.

Black Mountain, Provincetown, and the Woman Paintings

2017 ◽  
Author(s):  
Cathy Curtis
Keyword(s):  
North Carolina ◽  
Real Life ◽  
John Cage ◽  
Black Mountain College ◽  
Merce Cunningham ◽  
Willem De Kooning ◽  
Female Figures ◽  
Summer Session ◽  
Erik Satie ◽  
Black Mountain

In 1948, Willem de Kooning taught at the Black Mountain College summer session in Asheville, North Carolina. Elaine thrived in this experimental ambience. She worked on Buckminster Fuller’s first geodesic dome, studied with Josef Albers, and played the ingénue in The Ruse of Medusa, choreographed by Merce Cunningham, with music by Erik Satie played by John Cage. While Bill labored over his breakthrough painting Asheville, Elaine produced rhythmic abstractions on wrapping paper. That fall, he painted Woman, the first of his grotesque female figures. It is impossible to fully parse the real-life and artistic influences that led to these paintings, but his deepening rift with Elaine was surely among them. The following summer, in Provincetown, Massachusetts, she studied with Hans Hofmann and socialized with friends. One of her self-portraits was included in a group exhibition at the Sidney Janis Gallery that fall; portraiture would change the course of her creative

scholarly journals John Cage y su influencia en la obra del video artista Nam June Paik

2009 ◽  
pp. 237
Author(s):  
Íñigo Sarriugarte Gómez
Keyword(s):  
John Cage ◽  
Allen Ginsberg ◽  
I Ching ◽  
Merce Cunningham ◽  
El Sistema ◽  
Nam June Paik

En 1958, el artista coreano Nam June Paik (*1932; †2006) conoce en Alemania a John Cage (*1912; †1992), músico vanguardista, quien estaba profundamente interesado en el budismo zen. Su encuentro con Cage fue vital, ya que el compositor norteamericano convencerá a éste para que oriente su carrera hacia la vanguardia artística, dejando su faceta de pianista clásico. La filosofía de Cage queda reflejada en composiciones como 4’33’’, de 1952, donde el espectador no escucha el sonido del piano, ya que este no es tocado, sino un silencio que es entrecortado por el sonido ambiental. Hay varias versiones de esta pieza, marcándose los silencios mediante procesos al azar con el sistema del “I Ching”. En este sentido, el silencio empleado por John Cage se relaciona con la vacuidad del budismo zen. Igualmente, Paik hace uso del silencio en numerosos trabajos, como en “TV Clock” de 1963, donde se observan 24 televisiones manipuladas a color, a la vez que se siente el silencio, nuevamente entrecortado por las propias circunstancias momentáneas del espectador. Esta infl uencia del budismo zen en la música de Cage se observa cuando argumenta que la música compuesta de melodías tiene el mismo valor que el sonido dedicado por nosotros como ruidos. Este aspecto, entre otros, influyeron a Paik, cuyas video imágenes se definen como atributos de trabajos tradicionales que no impresionan a la audiencia, sino que sugieren condiciones variables. Algunas de sus obras relacionadas con la filosofía de Cage han sido “Hommage à John Cage” en 1959; “Estudio para pianoforte” de 1960; y “Global Grove” de 1973, donde Paik trabaja a modo de collage las imágenes de sus colaboradores vanguardistas John Cage, Allen Ginsberg y Merce Cunningham.

scholarly journals Poiesis y topos. Huertopoema, la identidad poética

2014 ◽  
pp. 151-162
Author(s):  
Holga Méndez Fernández
Keyword(s):  
John Cage ◽  
Marcel Duchamp ◽  
Vicente Huidobro ◽  
Erik Satie

No se puede reflejar el contexto cultural propio si no se conoce otro. Uno necesita extraerse de su propio contexto a fin de comprender la diferencia. Huertopoema condensa esta visión de la identidad poética, del espacio de cultivo y el poema; en búsqueda del equilibrio en el uso del topos como huerto y como forma de vida artística; las labores del campo: labranza y cosecha, son sinónimas de poiesis. Su principio fundamental se apoya en un orden espacial elemental y en disposiciones racionales, así como en una gramática comparada que cifra su interpretación y su saber no ya en la estética, sino a través de la intuición. Como una escultura, como una partitura, como una pintura, un poema hecho huerto; al igual que se disponen las palabras en la página, las piezas en el espacio de la sala, un huertopoema funciona como una obra total: tierra, agua, aire, día, noche, frutales, vegetales, animales y personas conviven, viven, hacen el huertopoema. Hay una referencia directa a la “poesía concreta”, a la música concreta; sin ir muy lejos las referencias a las obras de Erik Satie, John Cage, Vicente Huidobro, Ian Hamilton Finlay, Joan Brossa, Marcel Duchamp… La poesía visual. Los poemas objeto.

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