intensities ((re)re)visited has been edited by the netlabel TecnoNucleo, including the selection of the participating musicians. All the tracks have been created from recordings made by visitors to the Intensities exhibition. Inconformisme, incorrecció i rebel·lió entre art i escena musical during its time at the workshop proposed as part of the educational service and in which Escola FRETA, the SOI of the Fundació Maresme and the CEE Les Aigües participated.
During the workshop, visitors to the exhibition had the opportunity to distort and manipulate, with simple technical equipment, the sounds generated during their own visit to the exhibition. The result of these workshops can be heard on the Intensities Records Myspace page and is the sound material with which all the musicians exclusively worked to create their tracks. After its public presentation on June 5, 2008 at the Centre d’Art i Pensament Contemporani Can Xalant, the album is available for free download under a Creative Commons license on the TecnoNucleo website and on the LaFundició website.
intensities ((re)re)visitada is a specific project of the Diputació de Barcelona exhibition Intensities. Inconformisme, incorrecció i rebel·lió entre art i escena musical which had the support of the Patronat Municipal de Cultura de l’Ajuntament de Mataró.
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William S. Burroughs / Kurt Schwitters / Nam June Paik / Kalle Brolin / Guy Richards-Smit / Julien Temple / Filippo Tommaso Marinetti / Antonio Russolo / Pau Riba /Joseph Beuys / Paul McCarthy / Christian Marclay / Sex Pistols / Dan Graham / The Static / Iñaki Garmendia / T.R. Uthco & Ant Farm / Antonio Ortega / Yves Klein / Martin Kippenberger / Jon Mikel Euba / John Baldessari / Gordon Mumma / Mike Kelley / Brice Dellsperger / Guy Debord / Sonic Youth / Douglas Gordon / Black Flag / The Velvet Underground and Nico / Joan Morey / …
Intesities. Inconformismo, incorrección y rebelión entre arte y escena musical is an exhibition curated by David G. Torres and organized by the Oficina de Difusió Artística of the Diputació de Barcelona within its program of traveling exhibitions. Below you will find an extract from our proposal for the educational service of this exhibition.
Culture as a space of intensity and given to certain rebellion or imposture is present in the work of artists since the beginning of the 20th century. This attitude has often occurred through a convergence between music and art. Intesities. Inconformismo, incorrección y rebelión entre arte y escena musical aims to show with documents and works some moments of intensity and search for a certain rebellious and nonconformist spirit.
Through documentary material, pieces by artists and videos Intesities. Inconformismo, incorrección y rebelión entre arte y escena musical will show a genealogy of works in confluence of interests between music and art that have to do with attempts of incorrection and promotion of certain rebellion. A genealogy that has its roots in Dada and crosses over to music through Punk, in Catalonia from the nonconformist attitude of Pau Riba, with episodes in which the conceptual artists of the seventies such as Dan Graham or Joseph Beuys participate at the end of the eighties and reaches our days with the work of numerous artists.
David G. Torres
Exhibition Curator
Under this approach, the only practicable way to get out of this paradox is to implement a visit model that deactivates, as far as possible, the hierarchy of knowledge and uses of space and language implicit in the established models of ‘guided tour’, referencing in this way the nonconformist attitudes that the exhibition wants to show.
Usually, the guided tour of an exhibition is based on a hierarchical division of knowledge: on the one hand the monitor or educator, who holds the valid knowledge, and on the other the visitor, who is assigned little or no knowledge or knowledge that is not considered valid. From this division, the visit is presented as a vertical process through which the educator transmits his knowledge to the visitor or takes him out of his ignorance towards the domains of knowledge.
Moreover, this hierarchical division and this vertical process have their exact correlate in specific uses of space and time in the exhibition and of language, specifically of speech: on the one hand the visit is articulated in the space based on a linear route marked by the educator himself (and also by the way in which the curator has arranged the works) who at the same time establishes the rhythm of the visit, the pauses, the time of attention that should be given to each piece, etc. On the other hand, the voice of the educator is clearly privileged, both in the modulation (as sound) and in the type of language that is used (usually the codes of criticism or art history).
Synthesizing, we must understand the guided tour of an exhibition as a ‘constructed situation’, that is, as a unitary environment with a set of pre-established rules that promote a series of habits and moods that, in turn, respond to specific interests and that do not necessarily usually belong to the visitors themselves.
We propose to the visitors to the «Intensities» exhibition to begin the visit in an autonomous and self-organized way as a drift through the exhibition hall. This methodological proposal will be presented at the beginning. Visitors will also be provided with means to annotate and document their impressions, observations, comments…
Once this first phase of the visit is over, visitors and «guides» will regroup to share their experience and the information noted by each one. The task of the educator will be:
· To energize and moderate the dialogue.
· Emphasize certain notions.
· Establish connections or disagreements between different visions of the exhibition (including that of the curator and his own) or of specific works.
· Provide examples… this work will be more or less «intrusive» depending on the dynamics of each group.
Throughout the whole process we want to encourage visitors to establish relationships between the contents that they can observe in the exhibition and their own daily experience. In this sense, if we affirm and vindicate, with David G. Torres, curator of the exhibition, the need for a nonconformist and critical art, we cannot but promote that this art is useful to the public to (re)think issues that affect them in their day to day.
Our proposal for the experimental workshop wants to dilute the separation between the visit (as a cognitive, theoretical exercise) and the workshop (as an experiential practice), for this reason all the documents generated during the visit (texts, images and sounds) will be susceptible to being used as raw material for the experimental workshop.
We propose noise as the center of interest of this workshop. Within a given communicative circuit, noise is usually understood as that which destroys or alters information, seen from another point of view, sound can be understood as information without meaning, that is, as a remainder, as that which is left over. A good part of the work of the artists and musicians present in the exhibition Intensities. Incorformismo, incorrección y rebelión entre arte y escena musical is based on recovering this surplus to re-signify it. From the Dadaist poetry of Kurt Schwiters and the futurist music of Luigi Russolo to the distortion of the guitars of Sonic Youth, passing through the typography used by Jamie Reid on the covers of the Sex Pistols, the effort of these artists has been to conceive noise as something valuable.
Apart from this, the workshop-visit proposes to establish in a practical way an effective connection between the artistic context, the music and the sound experimentation whose results can be heard and downloaded on the MySpace of Intensities Records, which we also want to turn into a platform for work and communication after the visit.
In this sense, what is not intended in any way is to organize a ‘workshop of rebellious, incorrect and/or nonconformist attitudes’, which would be as incoherent as teaching ‘the correct way to be incorrect’. An example of what is NOT proposed to do: in the film The School of Rock (Richard Linklater, 2003) professor Dewey Finn (Jack Black) teaches music to the students of an elitist private school. Professor Finn’s classes are nourished by the stereotypes and canonized rebellious attitudes of rock’n’roll.