From 14 de June 2016 al 11 de September del 2016
The Rothko Chapel, together with composer Morton Feldman’s work Rothko Chapel, forms one of the most emblematic associations of music, architecture, and spirituality of the 20th century. The Rothko Chapel composition was commissioned by the Chapel’s administrators from Morton Feldman at the very inauguration of the space in February 1971. Mark Rothko and Morton Feldman, in addition to their friendship, shared a close affinity with abstract expressionism, austerity, stillness, the underlying minimalism in their works, and the spirituality to which both artists aspired. The elegiac work was to premiere in the same location and be directly inspired by the space and Rothko’s canvases. In this way, Feldman took on the challenge of creating a kind of synesthetic Gesamtkunstwerk (total work of art), in which the various artistic, musical, and mystical components of the project would fully engage and be identified.
Rothko Chapel, composed for choir, viola, soprano, alto and percussion, consists of four sessions described by its author as “a long declamatory introduction”: in the first, the viola and the choir converse over a faint and diluted percussion background; the second section is “stationary and abstract”, for choirs and bells; the next, is a strictly monodic “motivic interlude”, in which the soprano converses with the viola using a musical theme composed by Feldman on the day of Igor Stravinski’s funeral; and the fourth, concludes with a brief “lyrical section” in which the viola sings a modal melody composed by Feldman during his youth.
As part of the exhibition “On the Spiritual in Art. Overture,” the MAMM (Museum of Modern Art of Madrid) is amplifying Morton Feldman’s composition in Lab 3. Lasting 24 minutes, it will play continuously throughout the exhibition, starting from the Museum’s opening time.
The following activities took place in conjunction with this exhibition:
World Listening Day
The MAMM joined the celebration of World Listening Day, an initiative of the World Listening Project that seeks to raise awareness about listening and the social, aesthetic, and ecological issues involved in the sonic landscape. On this day, the Museum held a workshop, a talk, and a concert led by composer and sound artist Roberto García Piedrahita. Roberto García Piedrahita, a sound artist and composer, specializes in Electroacoustic and Experimental Music at the Phonos Foundation (Barcelona).
Sound Spatialization Workshop
Experiments and exercises using an 8-channel sound projection device. Aimed at musicians, composers, producers, sound artists, and the general public with ongoing sound-related projects.
Polyphonic Concert “Light and Infinity / Sound and Eternity.”
Live performance of works composed by Roberto García Piedrahita, written for polyphonic systems and adapted to Lab3 in dialogue with the work of Morton Feldman.
Arcángel Constantini Sound Circuits Laboratory (Mexico)
We developed a laboratory based on the construction of micro-modular circuits and Low-Fi oscillators for sound experimentation. Participants learned the principles of electronics; the function and symbology of components; how to read schematics; and how to build sound circuits. Through this process, they acquired theoretical and practical knowledge to empirically experiment with DIY (do-it-yourself) electronics. The workshop’s learning curve was fast and intuitive. The workshop was open to the general public with an interest in current developments in art, technology, and DIY, with basic or intermediate knowledge of electronics. It featured the participation of 22 young people.
Concert [SpesTri] Arcángel Constantini (Mexico)
Following the tradition of prepared instruments in experimental music, such as John Cage’s pianos, Laurie Anderson’s magnetic violin, or Christian Marclay’s turntables, prepared guitars are instruments modified with a variety of devices to explore their electroacoustic capabilities and experiment with processes other than chords. One of the instruments with the widest range of sonic and expressive possibilities, artists like Fred Frith, Hans Tammen, and Fernando Vigueras specialize in the improvisation and performance of both electric and acoustic prepared guitars. In this sound performance, Arcángel Constantini used an electroacoustic guitar, directly coupled to a 100-watt speaker, a preamplifier, and a 30-watt amplifier.
Lecture: Water, Science, Technology, and Mysticism. Archangel Constantini (Mexico)
This lecture was part of the program of activities for the exhibition “From the Spiritual to Art.” In it, the artist shared with the audience a series of investigations and artistic works carried out over the last decade related to natural phenomena, the water molecule, and sound. The lecture was attended by 40 people.
Relive the experience
