UPENDINGS DERISIONS TRANSCRIPTIONS

An evening of interventions, iconoclasms, homages, re-framings and revisions.

Citations, cover versions, violations, (non-)realizations, mash-ups, and re-imaginings of/by G. Douglas Barrett, Rozalinda Borcilă, John Cage, Philip Corner, Chris Cuellar, Dan Graham, Jimi Hendrix, Hana van der Kolk, Adam Overton, and LaMonte Young.

Sound Series at Presents Gallery, Concert 3
Performance: Saturday, January 22, 2011, 8PM
at Presents Gallery
64 Washington Ave.
Brooklyn, NY
www.soundatpresents.tumblr.com
www.gdouglasbarrett.com



[size=11]In a world that really has been turned on its head, truth is a moment of falsehood.

—Guy Debord

Every word I say contributes to the lie of art.

—LaMonte Young

If a 6 turned out to be 9, I don’t mind.

—Jimi Hendrix

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UPENDINGS DERISIONS TRANSCRIPTIONS

An evening of interventions, iconoclasms, homages, re-framings and revisions.

Music is the appropriation art form par excellence. It quotes, varies, remixes, mashes-up; it re-uses, revises and repurposes. Further, it is caught in a continual process of re-coding its basic formal structures: its modes of syntactic and economic organization, its means of technological mediation and transmission, its ways of staging collectivity and community. For better or worse, however, this fluidity has not saturated the underlying structures relating the musical text to its author(s), the authority, for example, that allows for the very idea of a “correct” or “proper” performance of a piece of music. The familiar death proclamations concerning authorship seem to have never set sail in the musical domain. What ever happened to the death of the composer?

While the answer to that question may seem mostly of interest to musicians, the politics of musical authorship has important implications for other art forms as well. Upendings, Derisions, Transcriptions is a program of performance works and interventions by contemporary artists, along with historical works taken from Fluxus, video art, performance art, experimental choreography and music. The program addresses a unique set of dynamics concerning the musical-performative event: history and immediacy, passivity and spectacle, narcissism and voyeurism, listening and spectatorship, coercion and submission, authorship and authority. Including citations, cover versions, violations, (non-)realizations, mash-ups, and re-imaginings of/by G. Douglas Barrett, Rozalinda Borcilă, John Cage, Philip Corner, Chris Cuellar, Dan Graham, Jimi Hendrix, Hana van der Kolk, Adam Overton, and LaMonte Young. Performed by G. Douglas Barrett, Chris Cuellar, and Hana van der Kolk.

Upendings, Derisions, Transcriptions — Program

Guitar Activities or Axes of Evil: Bored as Fuck
Performer/Audience/20’00”(4’33”)+Touch Solo Petting Zoo/Skype+Twitter mirror
Domesticated Thing or Composition (Sacrifice) 2011 #5, #2 (WASP)
Guitar Activities (continued) or If $ Was $
Enjoyment Obligation Oblongata

G. DOUGLAS BARRETT is an artist/composer working often with performance and various forms of mediation (text, scores, recordings, video, photographs). His work draws equally from the contemporary gallery arts and the experimental music tradition(s). Recent collaborators and performers of his work include Francesco Gagliardi, Adam Overton, Mark So, Bill Dietz, Object Collection, The S.E.M. Ensemble, John Lely, Philip Thomas, Seth Kim-Cohen and Tom Chiu. He has been a guest at festivals such as the Huddersfield Contemporary Music Festival (UK), Ostrava Days (Czech Republic), Wandelweiser Festspiel (Düsseldorf), Visiones Sonoras (Mexico City), June in Buffalo, and the CEAIT Festival (Los Angeles), and has presented work at the Ontological-Hysteric Theater (New York), Diapason Gallery (New York), the Wulf (Los Angeles), Theater Perdu (Amsterdam), Universität der Künste Berlin, the Sonic Arts Research Centre (Belfast, UK) and Neutral Ground (Regina, Canada). In 2009 Barrett received a DAAD grant to Berlin. He has obtained degrees from CalArts (MFA, 2006) and SUNY at Buffalo (PhD, 2010). His writings include essays published in the interdisciplinary literary journal Mosaic (U of Manitoba) and Contemporary Music Review, along with “A Text Score Manifesto” in John Lely and James Saunders’ forthcoming book Word Events: Perspectives on Verbal Notation (New York: Continuum, 2011).

For more information please contact G. Douglas Barrett at gdouglasbarrett at gmail dot com.
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