Moderna galerija Ljubljana (MGALJ)
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Connected : Peter Kogler with --- George Antheil with Friedrich Kiesler with Hedy Lamarr with Fernand Léger with museum in progress with Otto Neurath with Charlotte Perriand with Franz Pomassl with Winfried Ritsch with Franz West --- : [Kunsthaus Graz, Universalmuseum Johanneum, 28. 6.-20. 10. 2019]Kogler, PeterSince the 1980s, Peter Kogler has worked as a media artist between computer graphics, film, collage and architecture. Within the context of the digital influences on our everyday life today, his ... systematic consideration of the technological and reproducible image and the powerful influence of the media make him a natural successor, interpreter and ideal interlocutor of the generation of visionaries. Time and again Kogler's works have defined places of transition in public space throughout Europe. At Graz railway station, for instance where Léger is also supposed to have worked on a design concept approximately 70 years ago two large murals by Kogler have transformed the station into an dynamic place of incubation since 2003 and 2011. Works from a period of upheaval and change are now combined with new works for this exhibition. Iconic loans and archive materials by Léger and Perriand join George Antheil and Franz Pomassl's compositions within a new immersive work by Kogler, together forming the experiential cosmos of a programmed visual space. Central to the exhibition is the reflection of Fernand Léger and George Antheil's pioneering and revolutionary Ballet Mécanique. Still resonant today, this work devised at the beginning of the 1920s by the artists Fernand Léger as visual composer, Dudley Murphy as camera man and George Antheil as composer was the first Surrealist-Dadaist piece to link film montage and mechanical music. It sought, in Antheil's words, to warn the age in which I was living of the simultaneous beauty and danger of its own unconscious mechanistic philosophy, aesthetic. The piece exerts a hypnotic effect: extremely rapid, mechanically precise rhythms alternate with attacks on the keys of the instrument and eerie silence. Léger eventually premiered the film at the Vienna International Exhibition of Theatre Technology on September 4th 1924. Due to insurmountable problems with synchronisation, in the 1920s the soundtrack of Antheil's revolutionary piece for up to 16 mechanical pianolas could only be heard in private settings. Antheil's composition finally premiered separately in Paris in 1925 and in New York in 1926. Especially in the USA, its bewildering tempo and volume alone provoked enormous scandals and a financial disaster. It was only following the invention of computer technology and the discovery of the missing perforated tapes of Antheil's composition during the 1980s that the film and music could at last be merged into a synchronised whole.Vrsta gradiva - katalog ; neleposlovje za odrasleZaložništvo in izdelava - Wien : Verlag für moderne Kunst, cop. 2019Jezik - angleški, nemškiISBN - 978-3-903320-06-2COBISS.SI-ID - 24316931
Digitalne vsebine: dCOBISS
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knjižnica M Kog 13605 IN: 10200013605 |
prosto - za čitalnico
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Vir: Osebne bibliografije
in: SICRIS
