{"id":8995,"date":"2020-06-01T17:59:00","date_gmt":"2020-06-01T20:59:00","guid":{"rendered":"https:\/\/museomoderno.org\/silencio\/"},"modified":"2023-06-12T15:16:21","modified_gmt":"2023-06-12T18:16:21","slug":"silence","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/silence\/","title":{"rendered":"Silence"},"content":{"rendered":"\t\t
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Silence<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Three great friends talk about silence in music, quantum physics and literature, and about its role in art, meditation and the unsayable in the poetic process. They also discuss that silent hiatus, that rediscovering of suspended silence prompted in its recipients by the contemplation of art.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Even in the most absolute silence we still hear our hearts beating, our breathing, the faint rustle of leaves. But how does that silence play out in the streets of our towns and cities in these strange days we are living through?<\/p>

Today more than ever a space is needed to make silence possible. Small wonder then that in answer to the Moderno\u2019s call so many Argentinian and world artists did not think twice about taking up the gauntlet of silence as a desirable area of research that, over the years, has drawn or tested them. In such a context we are pleased to introduce a series of works and thoughts by such renowned and diverse artists and thinkers as Diana Aisenberg, Pedro Aznar, Mart\u00edn Bauer, Luis Conde, Fabiana Galante, Mariano Gil, Alberto Goldenstein, Juliana Iriart, Cesar Lerner, Alberto Rojo, Aldo Sessa, Alejandro Tantanian from Argentina, Lenora de Barros from Brasil and Bernardo Ortiz from Colombia. Welcome to the meaning-packed world of the significant pause and the listening ear.<\/p>

After pianist David Tudor took to the stage on 29 August 1952 for the premiere of John Cage\u2019s piece 4′ 33” in front of a blank score, nothing in twentieth-century would ever be the same again. Everything could be heard in those notorious minutes, and that roaring silence at the piano became a legend, provoking discomfort, laughter and ferocious criticism. Cage\u2019s gesture redefined the concept of music and contemporary art forever: art went on to incorporate real life and with it, chance, spontaneity, soundscapes or non-musical phenomena as valid compositional tools. By 1951, inside Harvard University\u2019s anechoic chamber, Cage had experienced how the murmurings of our own bodies block the sensory experience of the void. Borges too had denied the existence of silence, calling it a \u2018myth of the language or full unconsciousness or protracted metaphor. We all talk about silence but barely conceive of what it is, and the murmur of the blood in our ears belies it in our solitude.\u2019<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Diana Aisenberg,\u00a0Marco<\/em>\u00a0(1995)
\u00f3leo sobre tela, 180 x 180 cm, Colecci\u00f3n Banco Supervielle, Buenos Aires
Cr\u00e9dito fotogr\u00e1fico: Viviana Gil<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The trigger for 4’33” appears to have been the series of white paintings by Cage\u2019s friend Robert Rauschenberg. In the artist\u2019s empty canvases \u2013 that space with no apparent intervention \u2013 could still be seen shadows and lights, and the dust in the air. Something of \u2018real\u2019 life, unmediated and signless, permeated that \u2018degree zero\u2019 of expression, that unsaying. The primal gesture was to become meaningful.<\/p>

What does silence tell us today?<\/p>

Gabriela Comte, editor-in-chief at Museo Moderno<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Disabled Theather (2014) by J\u00e9r\u00f4me Bel<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Disabled Theater (2012\/2014) Concept : J\u00e9r\u00f4me Bel A film by Aldo Lee y J\u00e9r\u00f4me Bel By and with: Remo Beuggert, Gianni Blumer, Damian Bright, Matthias Br\u00fccker, Matthias Grandjean, Julia H\u00e4usermann, Sara Hess, Miranda Hossle, Peter Keller, Lorraine Meier, Tiziana Pagliaro<\/p>

Coproduction : Theater HORA and R.B. J\u00e9r\u00f4me Bel Duration : 1 h 37 Lenguaje : alem\u00e1n con traducci\u00f3n al ingl\u00e9s Recorded in Schauspielhaus Z\u00fcrich (Switzerland), March 2014<\/p>

Asistance and translation: Simone Truong Dramaturgy: Marcel Bugiel Producing manager: Ketty Ghnassia Artistic director Theater HORA: Michael Elber General manager Theater HORA: Giancarlo Marinucci<\/p>

Production credits of the original piece Disabled Theater (2012) Production: Theater HORA – Stiftung Z\u00fcriwerk (Zurich) Coproduction: Theater HORA, R.B. J\u00e9r\u00f4me Bel, Festival AUAWIRLEBEN (Bern), Kunstenfestivaldesarts (Brussels), dOCUMENTA (13), Festival d’Avignon, Ruhrtriennale, Festival d’Automne \u00e0 Paris, Les Spectacles vivants – Centre Pompidou (Paris), La B\u00e2tie \u2013 Festival de Gen\u00e8ve, Hebbel am Ufer (Berlin) With the support of: Stadt Z\u00fcrich Kultur, Kanton Z\u00fcrich Fachstelle Kultur, Pro Helvetia, Stiftung Denk an Mich, Ernst G\u00f6hner Stiftung<\/p>

Acknowledgments: Sasa Asentic, Tom Stromberg, Andreas Meder (Internationales Theaterfestival OKKUPATION!), Stiftung Z\u00fcriwerk, Fabriktheater Rote Fabrik Z\u00fcrich and the audience of our public try outs<\/p>

R.B J\u00e9r\u00f4me Bel is supported by the Direction r\u00e9gionale des affaires culturelles d’Ile-de-France, French Ministry for Culture and Communication<\/p>

In 2013 Disabled Theater (2012) was selected for the Theatertreffen de Berl\u00edn and won the Swiss Dance Awards – Current Dance Works<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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The great French choreographer, J\u00e9r\u00f4me Bel, has generously contributed the filmed version of his acclaimed play Disabled Theater (2014) for the week on #Silencio, part of our #MuseoModernoEnCasa programme. Bel has been interested in what happens beyond the performative since the beginning of his career. In Disabled Theater he collaborated with a group of professional actors and actresses with cognitive disabilities from the Zurich-based company, Theater Hora. The play openly discusses the process of meeting between themselves and their director. Their experiment to foreground disability for their audience builds up a reflection about what society defines as normal and puts what is generally silenced by cultural bias right on stage in front of them. Bel elects to put difference centre-stage as a key to read what it is that enables us to think in a common dimension.<\/p>

\u2018One of the challenges for me is to make the community these actors represent more visible, to show that these unvalued actors can still enrich experimental theatre, that their uniqueness is full of promise for theatre and dance, just as their humanity should be for society at large.\u2019<\/p>

J\u00e9r\u00f4me Bel.<\/p>

www.jeromebel.fr<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Juliana Iriart: Radio de cuadros [Juliana Iriart: Picture Radio]<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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uliana has created four special programmes for our fortnight on the theme of silence at the Moderno. In this present, which gathers us before our screens, her work lets us pause our eyes for a while and enter the texture of words, their tones and silences, their rhythms and emotional qualities, and to accompany us as we give our own images shape and colour. In Radio de cuadros the voice is a vehicle bearing images through the air to materialise in those who hear them. Juliana Iriart dons her radio voice through \u2018The Lying Poet\u2019, a pseudonym that allows her a distance and freedom from herself, but which also relates \u2018lying\u2019 with subjectivity, since it isn\u2019t ultimately the painting itself that ends up on the radio, but a collaborative poem built up between the painter, the poet and the listener\/imaginer. The paintings she tells are by artists who are no longer alive, but who lived in Argentina and were little exhibited in their day.<\/p>

Radio de cuadros has existed since 2019 and can be listened to at https:\/\/soundcloud.com\/la-poeta-mentirosa<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Bernardo Ort\u00edz<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Bernardo Ortiz
Sin t\u00edtulo<\/em>
4′ 33″
(2018-2020)
Animaci\u00f3n y m\u00fasica digital<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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An 8-bit cloud creeps slowly across the screen. Nothing else happens. Just the cloud. A guitar plots the volume of transactions on the Dow Jones over 2020, while an oscilloscope plots the Dow\u2019s daily closes for the same period. Nothing else happens.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Bernardo Ortiz (Bogot\u00e1, 1972) is an artist and writer. He has a BA in Fine Arts from the Universidad de Los Andes (Bogot\u00e1, Colombia) and an MA in Philosophy from the Universidad del Valle (Cali, Colombia). His recent exhibitions include: Baja resoluci\u00f3n [Low Res] (Casas Riegner, Bogot\u00e1), Fricci\u00f3n [Friction] (Lu\u00edsa Strina, S\u00e3o Paulo, Brazil), Borrar [Delete] (Museo de Arte Moderno de Buenos Aires, Argentina). He has also taken part in collective exhibitions like the 30th Bienal de S\u00e3o Paulo (S\u00e3o Paulo, Brazil), the 11th Lyon Biennale (Lyon, France) and the 20th Biennale of Sydney (Sydney, Australia). His work features in major collections like Tate Modern (London), MoMA (New York, USA) and the Centre national des arts plastiques (Paris, France).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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www.fabricaciones.org<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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C\u00e9sar Lerner
Coraz\u00f3n<\/em>\u00a0[Heart<\/em>]
Video
2\u2019, 31\u201d
C\u00e9sar Lerner (composition, piano, gong and electronics)
Violeta Garc\u00eda (cellos 1 and 2)
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C\u00e9sar Lerner,\u00a0Sesenta [Sixty]<\/em>
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C\u00e9sar Lerner (composition, piano and electronics)
El\u00edas Gurevich (violin)
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C\u00e9sar Lerner on quarantine: \u2018Quarantine \u2013 this cul-de-sac still without an end \u2013 has been the frame for the rethinking and completion of my latest studio work, Sesenta [Sixty]. These quarantine videos carry extracts of this music. They\u2019re play, minimal expressions of something maximal that so far isn\u2019t thinking of surrendering.\u2019<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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C\u00e9sar Lerner,\u00a0Coraz\u00f3n (2) [Heart (2)]<\/em>
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C\u00e9sar Lerner (composition, piano and electronics)
Violeta Garc\u00eda (cellos 1 and 2)
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C\u00e9sar Lerner,\u00a0Si yo fuera<\/em>
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1′ 18″
C\u00e9sar Lerner (composici\u00f3n, piano, bodhram y electr\u00f3nica)
El\u00edas Gurevich (viol\u00edn)
Dylan Lerner (mezcla y mastering)
Claudia Chueke (imagen)<\/p>

C\u00e9sar Lerner is an Argentinian composer, pianist, accordion player and percussionist. Internationally renowned, Lerner has undertaken numerous projects recreating klezmer music with Marcelo Moguilevsky, as leader of his own quartet or with violinist El\u00edas Gurevich. He has composed the music to some of the most successful films in Argentina, including Fabi\u00e1n Bielinsky\u2019s Nueve reinas [Nine Queens] and Daniel Burman\u2019s El abrazo partido [Lost Embrace] and Derecho de familia [Family Law]. Together with Claudia Chueke in 2019 he created the performance which he personally embodies: Experiencia Acorde\u00f3n [Accordion Experience] which premiered at the Kirchner Cultural Centre (CCK). For over twenty years he has been coordinating his \u2018Drum Circle\u2019, a platform for inclusion through music in areas of social care, corporations, art and education. Among other distinctions Lerner has been awarded the 2000 Silver Condor Prize for best film music on Esperando al Mes\u00edas [Waiting for the Messiah], with the 2001 Silver Pentagram Prize at the Mar del Plata International Film Festival for El abrazo partido [Lost Embrace] and the 2008 Fourteenth Madrid International Short Film Festival Prize for the soundtrack to Javier Mrad\u2019s Tecl\u00f3polis [Techkeyville]. He recently won the Award of Excellence at the Hollywood International Independent Documentary Awards (HIIDA) for the soundtrack to Poli Mart\u00ednez\u2019s documentary Lea y mira [Read and Look].<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Alberto Goldenstein: The matter between the edges.\nPhotographs 1982-2018<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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This book is a document of Alberto Goldenstein\u2019 first retrospective, The Matter Between the Edges. Photographs 1982\u20132018, presented at the Museo de Arte Moderno de Buenos Aires in 2018. Through a comprehensive set of images and texts by curator Carla Barbero and Lucrecia Palacios it explores crucial aspects in the work of a key artist of Argentinian photography. It also contains a chronology of his life and work by Bel\u00e9n Coluccio.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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www.fabricaciones.org<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Alberto Goldenstein finds a major ally in these extraordinary times to work his latest photographs, taken with the camera on his mobile phone. The artist develops a central gesture in his work: the idea of a total visual field, breaking with the concept of the single photo. As in all his series one image answers another, together tracing a keen and elegant conversation.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Launch of the book by Aldo Sessa<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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This book is a document of the work conducted by the Museo de Arte Moderno for the exhibition, Aldo Sessa Archive 1958\u20132018: Sixty Years of Images. Intense exploration of the photographer\u2019s archive made possible an unexpected journey along the endless pathways of his oeuvre, and his many interests and investigations, to reveal a gaze built up from a tireless desire to go beyond, using the technical possibilities of the different cameras of the day. Alongside the visual journey provided by this exhaustive research, there is an interview, in which the artist discusses his technical and aesthetic ideas, and a complete biography.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Fabiana Galante y Luis Conde<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Fabiana Galante and Lu\u00eds Conde
Pieza con piano<\/em>\u00a0[Piece with Piano<\/em>]
April 2020
Editing: Carlos Murat<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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The artists Fabiana Galante and Lu\u00eds Conde \u2013 hands and gramophone \u2013 share a sonovisual action in context. As a pianist, teacher and sound artist Fabiana Galante ranges across a broad spectrum. She works in the field of current music on a case-by-case basis as a performer, improviser and builder of sounds interlaced with texts, images, performances or other sounds. She uses both new and \u2018retro\u2019 technologies and collaborates with musicians, composers and artists from other disciplines at home and abroad. Lu\u00eds Conde is a restless musician who leans towards the contemporary. A performer and university lecturer, he plays saxophone, clarinet, shakuhachi flute, bagpipes and didgeridoo, often electronically or unconventionally treated.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Mariano Gil
Bass flute, video and animation<\/p>


Zeke Zima
Guitar and mixing<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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silence
inside and out
vacuity
not the vacuum of black holes
but
spontaneous appearances
yes, and with no voices commenting
analysing, judging, naming
light in shapes
dream with nobody dreaming
path with no print
like a bird in flight
essence of the elements
beyond concepts
you enlightened guide
that speaks
without speaking
silence<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Lenora De Barros - Alvos y Estudo pra facadas<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Estudo para facadas<\/em>\u00a0[Study for Stabbings<\/em>]
2012
Video
1\u2019, 32\u201d
Photography and camera: Ruy Teixeira
Editing: Felipe Pereira Barros
Audio editing: Dan Zimmerman<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u2018The work is divided into parts or \u201cchapters\u201d. In the first a filmed close-up of the artist\u2019s mouth reveals her slowly mouthing a scream without words. Fade out. The second \u201cchapter\u201d is a still image of her tongue being stabbed, with the sound of the act overdubbed. Another abrupt cut. The next \u201cchapter\u201d is a repetition of the first act with a higher-pitched sound. A last break before the final \u201cchapter\u201d, in which the still displays the first slash and pronounces silence with a second stab of the knife. Lenora confronts the different media (television, cinema, photography) that invade and shape the gaze, daily life and behaviour of people, and which invest in models and strategies of narcotising seduction and thinly veiled violence. They are totalitarian (political, cultural, religious, whatever) discourses that promote blinding and silencing strategies, manipulating desire and violating our ability to judge. Overall, the work is by no means rhetorical or complaining but, by showing the birth and death of images allegorically, Lenora urges us to question the nature of our relationship with images and our image-mediated relationship with the world. The very status of the image is also at stake: it is elevated above and goes beyond the visible realm, which it exalts and torments in turn, but from which it is formed. This unease is contained in the representation of death, its enigma and the character-cum-artist\u2019s suspended scream.\u2019<\/p>

Excerpt from Facadas [Stabbings] by Felipe Scovino, for the catalogue of the Third Show in the 2012 Exhibition Programme, S\u00e3o Paulo Cultural Centre.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Alvos<\/em>[Targets]
2017
Video
6\u2019, 28\u201d
Production and editing: Marcia Beatriz Granero
Production assistant: Luiza Calmon.
Post-production: Yuri Amaral, Fabio Bardella
Design and sound mixing: Gustavo Vasconcelos<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u2018During the research process for my production of Alvos I found some copies of targets used in gun clubs. I was shocked by the violence these \u201cdecomposing\u201d figures were charged with after receiving the gunshots: images of bodies that never lived, yet died violent deaths. The targets used in shooting academies are a discomforting, disturbing presence at a time when violence is spreading frighteningly, turning against specific targets, but more randomly too. The Alvos video was recorded in the range of a shooting academy in S\u00e3o Paulo in September 2017. At one point in the shoot I put the target over my own face, like a mask. What captured my attention about the image of the target was that the point the shooter had to aim at was right over my mouth. I find that symbolic connection with tongue and language fascinating: language and communication under attack, and the threat of prohibition, communication in crisis and symbolic violence.\u2019 Lenora de Barros<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Lenora de Barros is a Brazilian artist and poet. She studied linguistics at the University of S\u00e3o Paulo before establishing herself as an artist in the 1970s and has remained committed to exploring language through a variety of media, including video, performance, photography and installation. Barros began her career producing visual poetry. Her early works were influenced by concrete poetry, particularly the Noigandres Group, incorporating body art, pop art and conceptual art techniques. Her work has evolved to focus on the sonority of words, particularly through sound installations and voice performances.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Playlist: Listen to the Silence<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Escuchar [Sonidos visuales] [Listen [Visual Sounds]] cycle curated by Jorge Haro and Leandro Fr\u00edas has put together this playlist around the notion of silence from a sonic arts perspective. An exploration of sonovisual contrasts. So often separated and classified as opposites, sound and silence are but two aspects of the physical world of vibrations. Discreet or conspicuous. The experience opens with a nineteenth-century space where sounds can \u2018just be\u2019, moves on to the<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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