#jani christou

[phantasmagloria]

Storm Stereo #91: Echoing Waves: Greek Experimental Music 1960-2021

Avant garde, electroacoustic and experimental works from Greek composers, 1960-2021.

Avant garde, electroacoustic and experimental works from Greek composers, 1960-2021. A show developed in light of the first Greek retrospective exhibition about the great composer and polymath Iannis Xenakis at The National Museum of Contemporary Art Athens (EMST). We start off with the mysterious, futuristic synth-scapes of 2 Katara, a group formed in Athens in 1978 by George Theodorakis and…

[hugopaquete]

The post-techno operatic experience Negentropia: O Último Homem na Terra Devastada, directed by Hugo Paquete, was specially adapted for the D��namo Gallery. This performance transported the audience to a dystopian, post-apocalyptic universe where electronic music, noise, and interaction came together to explore the final moments of existence—"the end of a man in a harsh electronic desert, a post-apocalyptic cloud where existence collapses into madness and suffocation."

Inspired by the works of Jani Christou, Negentropia reimagined and expanded on Anaparastasis I: The Baritone (1968) and Anaparastasis III: The Pianist (1968), elevating them to new heights of intensity. The performance integrated sound, visuals, and staging into a meta-dramaturgy, using improvisation and CO2 sensor readings to evoke a cathartic reflection on human and technological collapse.

This documentation captures the essence of the October 18th performance, held at 6:30 PM at ESAP Porto (Dínamo Gallery).

Info: www.absonuslab.org Production: Absonus Lab Support: República Portuguesa - Cultura / Direção-Geral das Artes

[occultamusica]

Jakub Kisieliński - Jani Christou i Thomas Pynchon w galaktyce czarnych dziur (2013) (in Volucri Caballi, 2013)

[molochmoloch]

Anaparastasis: Life & Work of Jani Christou (1926-1970)

FB Event EN Even though today he remains a great stranger, Jani Christou (1926-1970) stands among the greatest figures of the 20th century music avant-garde. His work is characterized by a rare uniformity and consistency, regarding not only the pioneering means which he introduced in the world of sounds and the innovatory music systems, but also his own philosophical universe which runs through and inspires his compositions: the myth, the transcendent, the mysticism, the primordial, the ritual, the unapproachable, the panic, the hysteria... With Christou's early death in a tragic accident, on his birthday, in January 8th 1970, the world of contemporary music lost one of the most thrilling and provocative talents. The documentary attempts to illustrate the personality and the spirit of this great thinker of art and follow the path of his short life, which has always been interwoven with art and his meaning of offering to humanity and civilization. Through the presentation of composer's works and rare audiovisual documents, as well as interviews with all the creative and friendly circle in which Christou was linked, the film toils to bring us closer to the mystery that this great artist left behind and, at a second reading, sets the concern for all the great moments of art that sometimes historical and era circumstances hide in their shadows. Director, Researcher, Texts: Costis Zouliatis Editing: Kleitos Kyriakides Camera: Kleitos Kyriakides, Nikos Nikolopoulos Sound: Dimitris Miyakis Assistant Director/Producer: Christine Fine 2004-2012, G.A.L.P. Pictures, Music Department of Ionian University All income will be used to support S.A.M. S.A.M., a group of people that organizes art and music activities for refugee children in Souda camp on the island of Chios. GR Ο Γιάννης Χρήστου (1926-1970) συγκαταλέγεται στις μεγάλες μορφές της μουσικής πρωτοπορίας του 20ου αιώνα, αν και ουσιαστικά αποτελεί σήμερα έναν μεγάλο άγνωστο. Το έργο του χαρακτηρίζεται από σπάνια ενότητα και συνέπεια, τόσο ως προς τις πρωτοποριακές τομές που εισήγαγε στον κόσμο των ήχων και στα καινοτόμα μουσικά συστήματα, όσο και ως προς το φιλοσοφικό του σύμπαν το οποίο εμπνέει και διαπνέει τις συνθέσεις του: ο μύθος, το υπερβατικό, ο μυστικισμός, το αρχέγονο, η τελετουργία, το απρόσιτο, ο πανικός, η υστερία... Με τον πρόωρο θάνατό του σε τραγικό δυστύχημα την 8η Ιανουαρίου του 1970, ανήμερα των γενεθλίων του, ο κόσμος της σύγχρονης μουσικής στερείται ένα από τα πλέον συναρπαστικά και προκλητικά ταλέντα του. Η ταινία αποπειράται να σκιαγραφήσει την προσωπικότητα και το ιδιαίτερο πνεύμα αυτού του μεγάλου στοχαστή της τέχνης και να ακολουθήσει τη διαδρομή της σύντομης ζωής του, η οποία πάντοτε ήταν συνυφασμένη με την τέχνη του και την προσφορά του στην ανθρωπότητα και τον πολιτισμό. Μέσα από την παρουσίαση της εργογραφίας του συνθέτη, με σπάνια οπτικοακουστικά ντοκουμέντα, αλλά και συνεντεύξεις με όλο σχεδόν το δημιουργικό και φιλικό κύκλο με τον οποίο συνδέθηκε, το ντοκιμαντέρ αυτό αγωνιά να μας φέρει πιο κοντά στο μυστήριο που άφησε πίσω του ο σπουδαίος δημιουργός και να μας κάνει να αναρωτηθούμε για όλες τις μεγάλες στιγμές της τέχνης που συνήθως οι εποχικές συγκυρίες κρύβουν στη σκιά τους. Σκηνοθεσία, Έρευνα, Κείμενα: Κωστής Ζουλιάτης Μοντάζ: Κλείτος Κυριακίδης Κάμερα: Κλείτος Κυριακίδης, Νίκος Νικολόπουλος Ήχος: Δημήτρης Μυγιάκης Βοηθός Σκηνοθέτη/Παραγωγής: Χριστιάννα Φινέ Τα έσοδα θα διατεθούν για τη στήριξη της ομάδας S.A.M. S.A.M., που πραγματοποιεί τακτικά δράσεις τέχνης και μουσικής με τα προσφυγόπουλα στον καταυλισμό της Σούδας στη Χίο. Επιμέλεια Προβολής: Κατερίνα Π. Τριχιά

[teethlikeneedles]

Jani Christou, 9 Jan. 1926 – 8 Jan. 1970

[ceilingazer]

Jani Christou: Mysterion (1965/1966)

[artasnoidea]

POPULATION

Abounaddara Akinbode Akinbiyi Nevin Aladağ Danai Anesiadou Andreas Angelidakis Aristide Antonas Rasheed Araeen Ariuntugs Tserenpil Michel Auder Alexandra Bachzetsis Nairy Baghramian Sammy Baloji Arben Basha Rebecca Belmore Sokol Beqiri Roger Bernat Bili Bidjocka Ross Birrell Llambi Blido Nomin Bold Pavel Brăila Geta Brătescu Miriam Cahn María Magdalena Campos-Pons and Neil Leonard Vija Celmins Banu Cennetoğlu Panos Charalambous Nikhil Chopra Ciudad Abierta Marie Cool Fabio Balducci Anna Daučíková Moyra Davey Yael Davids Agnes Denes Manthia Diawara Beau Dick (1955–2017) Maria Eichhorn Hans Eijkelboom Bonita Ely Theo Eshetu Aboubakar Fofana Peter Friedl Guillermo Galindo Regina José Galindo Israel Galván, Niño de Elche, and Pedro G. Romero Daniel García Andújar Pélagie Gbaguidi Apostolos Georgiou Yervant Gianikian and Angela Ricci Lucchi Gauri Gill Marina Gioti Beatriz González Douglas Gordon Hans Haacke Constantinos Hadzinikolaou Irena Haiduk Ganesh Haloi Anna Halprin Dale Harding David Harding Maria Hassabi Edi Hila Susan Hiller Hiwa K Olaf Holzapfel Gordon Hookey iQhiya Sanja Iveković Amar Kanwar Romuald Karmakar Andreas Ragnar Kassapis Kettly Noël Bouchra Khalili Khvay Samnang Daniel Knorr Katalin Ladik Lala Rukh (1948–2017) David Lamelas Rick Lowe Alvin Lucier Ibrahim Mahama Narimane Mari Mata Aho Collective Mattin Jonas Mekas Angela Melitopoulos Phia Ménard Lala Meredith-Vula Gernot Minke Marta Minujín Naeem Mohaiemen Hasan Nallbani Joar Nango Rosalind Nashashibi and Nashashibi/Skaer Negros Tou Moria Otobong Nkanga Emeka Ogboh Olu Oguibe Rainer Oldendorf Pauline Oliveros (1932–2016) Joaquín Orellana Mejía Christos Papoulias Véréna Paravel and Lucien Castaing-Taylor Benjamin Patterson (1934–2016) Dan Peterman Angelo Plessas Nathan Pohio Pope.L Postcommodity Prinz Gholam R. H. Quaytman Gerhard Richter Abel Rodríguez Tracey Rose Roee Rosen Arin Rungjang Ben Russell Georgia Sagri Máret Ánne Sara Ashley Hans Scheirl Marilou Schultz David Schutter Algirdas Šeškus Nilima Sheikh Ahlam Shibli Zef Shoshi Mounira Al Solh Annie Sprinkle and Beth Stephens Eva Stefani K. G. Subramanyan (1924–2016) Vivian Suter El Hadji Sy Sámi Artist Group (Keviselie/Hans Ragnar Mathisen, Britta Marakatt-Labba, Synnøve Persen) Terre Thaemlitz Piotr Uklański Jakob Ullmann Antonio Vega Macotela Cecilia Vicuña Annie Vigier & Franck Apertet (les gens d’Uterpan) Wang Bing Lois Weinberger Stanley Whitney Elisabeth Wild Ruth Wolf-Rehfeldt Ulrich Wüst Zafos Xagoraris Sergio Zevallos Mary Zygouri Artur Żmijewski

Zainul Abedin (1914–1976) Stephen Antonakos (1926–2013) Arseny Avraamov (1886–1944) Ernst Barlach (1870–1938) Étienne Baudet (ca. 1638–1711) Samuel Beckett (1906–1989) Franz Boas (1858–1942) Arnold Bode (1900–1977) Lorenza Böttner (1959–1994) Marcel Broodthaers (1924–1976) Lucius Burckhardt (1925–2003) Abdurrahim Buza (1905–1986) Vlassis Caniaris (1928–2011) Sotir Capo (1934–2012) Cornelius Cardew (1936–1981) Ulises Carrión (1941–1989) Agim Çavdarbasha (1944–1999) Chittaprosad (1915–1978) Jani Christou (1926–1970) Chryssa (1933–2013) André du Colombier (1952–2003) Gustave Courbet (1819–1877) Christopher D’Arcangelo (1955–1979) Bia Davou (1932–1996) Maya Deren (1917–1961) Ioannis Despotopoulos (1903–1992) Thomas Dick (1877–1927) Carl Friedrich Echtermeier (1845–1910) Maria Ender (1897–1942) Forough Farrokhzad (1935–1967) Conrad Felixmüller (1897–1977) Pavel Filonov (1883–1941) Niccolò di Pietro Gerini (1340–1414) Tomislav Gotovac (1937–2010) Jacob and Wilhelm Grimm (1785–1863, 1786–1859) Ludwig Emil Grimm (1790–1863) Giovanni di ser Giovanni Guidi (1406–1486) Cornelia Gurlitt (1890–1919) Louis Gurlitt (1812–1897) Nikos Hadjikyriakos-Ghika (1906–1994) Oskar Hansen (1922–2005) Sedje Hémon (1923–2011) Theodor Heuss (1884–1963) Karl Hofer (1878–1955) Ralph Hotere (1931–2013) Albert Jaern (1893–1949) Iver Jåks (1932–2007) Sunil Janah (1918–2012) Alexander Kalderach (1880–1965) Tshibumba Kanda Matulu (1947–1981 disappeared) Leo von Klenze (1784–1864) Kel Kodheli (1918–2006) Louis Kolitz (1845–1914) Spiro Kristo (1936–2011) KSYME-CMRC (founded 1979) Anna “Asja” Lācis (1891–1979) Maria Lai (1919–2013) Yves Laloy (1920–1999) Valery Pavlovich Lamakh (1925–1978) George Lappas (1950–2016) Karl Leyhausen (1899–1931) Max Liebermann (1847–1935) George Maciunas (1931–1978) Ernest Mancoba (1904–2002) Oscar Masotta (1930–1979) Mikhail Matyushin (1861–1934) Pandi Mele (1939–2015) Tina Modotti (1896–1942) Benode Behari Mukherjee (1904–1980) Krzysztof Niemczyk (1938–1994) Ivan Peries (1921–1988) David Perlov (1930–2003) André Pierre (1915–2005) Dimitris Pikionis (1887–1968) Dmitri Prigov (1940–2007) Hasan Reçi (1914–1980) W. Richter Anne Charlotte Robertson (1949–2012) Erna Rosenstein (1913–2004) August Wilhelm and Friedrich Schlegel (1767–1845, 1772–1829) Bruno Schulz (1892–1942) Scratch Orchestra (1969–1974) Tom Seidmann-Freud (1892–1930) Allan Sekula (1951–2013) Baldugiin Sharav (1869–1939) Amrita Sher-Gil (1913–1941) Vadim Sidur (1924–1986) August Spies (1855–1887) Foto Stamo (1916–1989) Gani Strazimiri (1915–1993) Władysław Strzemiński (1893–1952) Alina Szapocznikow (1926–1973) Yannis Tsarouchis (1910–1989) Antonio Vidal (1928–2013) Albert Weisgerber (1878–1915) Lionel Wendt (1900–1944) Johann Joachim Winckelmann (1717–1768) Fritz Winter (1905–1976) Basil Wright (1907–1987) Andrzej Wróblewski (1927–1957) Ivan Wyschnegradsky (1893–1979) Iannis Xenakis (1922–2001) Androniqi Zengo Antoniu (1913–2000) Pierre Zucca (1943–1995)

Documenta14, 2017

[circumswoop]

Game & performance.

The opening shot of The Killing Of A Sacred Deer is of a heart splayed, a chest jacked open with ribs akimbo. It is apparently a real heart: photographed in extremis, under surgical duress. With its discernible hemispheres, the heart almost looks more like a brain gobbed in unspeakable fat. If a brain cld be said to beat, it would look like this: the grossest opening shot maybe in movies, or at least that I have ever seen. What comes from confusing the brain and the heart, however lightly? Utter gore, and Colin Farrell being ritually undressed afterward, headlamp and funny surgical glasses on top of other funny surgical glasses and layers of scrubs and gloves reversing off him. If all your life you have been sick with fantasy abt hospitals and their demented sense of enlightenment––the Byzantine corridors the corners of which echo with coughs, in light that can only be described as taurine-colored––you will not so much watch as wander this movie, the latest from a Greek filmmaker whose remade myths are both catchier and kitschier than the originals.

Steeped as easily in opera, The Killing Of A Sacred Deer explores impossibly big moods with a neck-craning soundtrack of Schubert and Ravel. But for a film addicted to classicism, the visual joke of Nicole Kidman being married to another doctor would not be possible if you've never had an affair with Eyes Wide Shut. Alice Harford, having rid herself of the locked-down and oblivious Dr. Bill, landed in the arms of a cardiac surgeon with several shakers full of salt and pepper in his beard. When nicole stares into the mirror of a medicine chest you think she will withdraw a band-aid container that contains weed instead of band-aids. This pot is making her aggressive. No it’s not the pot. It’s you.

Giorgios Lanthimos is notorious for having his actors speak in gray mono, not the stereo of Actorville. This mannerism is Mametian, and takes me back to watching State & Main or Spartan when I was a moviegoing pup, trying to spot how Sarah Jessica Parker or Val Kilmer arrived at such impeccable deadpan. Young audiences schooled on YouTube minimalism may recognize it better now than I did then, albeit as something else. Lanthimos has his own version of Mamet’s command to “just say the lines”, so there are no scenes in TKOASD that cld rightly be called “acted” except for one in which Farrell expertly trashes a kitchen. And yet the threadbare flatness of the performances is still stylized, even glamorized, into fantastic states of catatonia or even anhedonia. The inability to feel pleasure, carried by Farrell, contrasts with the inability to feel anything at all, carried by Kidman: her reliance on psychosomatic diagnoses for her children falling legless to the floor is just her belief that they’ll never stand on their own.

Included in the soundtrack is “Enantiodromia”, a piece by the (also Greek) composer Jani Christou that alternates between narrow and wide frequencies. Carl Jung used the term enantiodromia for “the emergence of the unconscious opposite in the course of time”. He updated this from Heraclitus, flipping it into “the most marvelous of all psychological laws”–that which accounts for the subconscious occasionally overruling control freaks. (Jung would describe it as extreme one-sidedness, but he meant control freaks.) The first and really only thing Colin Farrell discusses at length in TKOASD is wristwatches, their waterproof depth and if metal or leather bands are better. For insisting on an ordered life, his unconscious opposite punishes him with a disordered effect, scrambling the health of his family into nightmare fuel. It’s treated as a placed-upon curse by the script, but the odd boy who introduces this malevolence to Farrell’s life probably doesn’t know his Jung from his Young Thug. He simply sells Farrell on the concept of a favor owed, then lures him into a funhouse of unconscious glitch. 

Farrell fears two things: drowning without knowing what time it is (apparently), and killing a patient. He even denies the second one is possible, insisting that surgeons don’t kill patients anesthesiologists do. The boy character, played by the fascinating Irish actor Barry Keoghan, is the son of a patient who died on Farrell’s table which still doesn’t remind Farrell of revenge––only recompense. So when the boy begins to art-direct Farrell’s life, promising catastrophe in three-act structure (paralysis, bleeding from the eyes, death), Farrell’s too committed as a father figure to get out with honor. One thing the Greeks knew: honor as tool for sorting things is always DOA.

As a surgeon, Farrell simply regards the unconscious as a performance space. This extends to erotics, as he and Nicole act out a bizarre and really hot operating room scenario as sexual prelude. General anesthetic? Nicole asks, semi-naked, before going limp. First of all, I’m thrilled by how much this rape fantasy probably horrified woke Twitter. But later, when Nicole ups the ante and gets naked on her own, Farrell isn’t interested. There’s a plague on his family so he’s got a lot going on, but it’s more like he cannot block a sex scene if there’s too much motility. 

French neurologist Jean-Martin Charcot got famous for expanding the limits of hysteria, and for his pyromanic teaching style that probably tricked Freud, his most famous student, into thinking he was a performer. Charcot’s work moved the chains on nervous abnormalities, using techniques like hypnosis to source seats of trauma. He also liked to get high and paint. His portraits and caricatures were known to liven up meetings. Although his findings on hysteria eroded, he is still reputed as the father of neurology. Several neuropathological disorders carry his name, including Charcot arthropathy––a progressive denaturing of weight-bearing joints. This disconnect between bone and soft tissue usually affects the foot or ankle, and can result in pathologic fractures and paralyses––both of which Charcot interrogated as neurotraumatic. So, the condition that leaves Colin Farrell’s teen daughter and adolescent son suddenly unable to use their legs can be explained as a rare or unprecedented form of Charcot arthropathy, which none of the experts at Farrell’s hospital think of since it’s ordinarily progressive. The effects of a curse are not always immediate, but can be. 

Images of the kids slithering down steps and across floors are so disturbing they cause Farrell to confess that he once jerked off his own dad. His dad was asleep and there was no coercion, but this is still a trauma so unbelievable it must be true. Farrell is so desperate to prove his son is faking paralysis that he relates it as heartfelt. Or his brain and heart have finally traded places. Either way it’s a morale-destroying instance of metapraxis, normality blurred by the deep need to perform. The battle of the pragmatic against the unconscious is rendered hilariously anecdotal, as Lanthimos tips his farcical hand. 

Altogether austere, absolutely clinical scenes in basements and one involving the most nightmarish spaghetti usage since Gummo echo further perversity and nonsense. Jung, writing abt the psychoid archetype, found “no hope that the validity of any statement about unconscious states or processes will ever be verified scientifically”. But filmically? Performatively? The Killing Of A Sacred Deer is either tragedy reëxperienced as camp, or a feature-length realization that the desires for recompense and revenge are never evenly matched. Although in a race of opposites, they’re never far apart. 

[swirlingdisobedience]

Scores

Based on excerpts from the text: Keeping Score: Notation, Embodiment, and Liveness By Hendrik Folkerts. 

“To approach a definition: the score is a notational device that connects the material of a ­discipline—ranging from music, dance, and performance to architecture, linguistics, mathematics, physics—and its systems of knowledge to a language that produces description, transmission, and signification, in order to be read, enacted, or executed in whatever form desir­able.”  

Exercise:

Make a score of your performance

think of:

1. Acts / scenes / chapters - how do the following take part in these and where?:

2. Characters

3. Movements

4. Outfits

5. Sound / video - amplified voice? lights?

6. Props - are they activated? How do these move or change?

Cornelius Cardew

Cornelius Cardew, Treatise (1963–67), EP 7560, musical score (excerpt), assigned 1970 to Peters Edition Limited, London

English experimental music composer, and founder (with Howard Skempton and Michael Parsons) of the Scratch Orchestra, an experimental performing ensemble. He later rejected experimental music, explaining why he had "discontinued composing in an avantgarde idiom" in his own programme notes to his Piano Album 1973[full citation needed] in favour of a politically motivated "people's liberation music". (wikipedia)

“Cardew’s method was premised on a dissolution of the hierarchies and boundaries between composer and interpreter, as well as between performers active in different fields of performance, from music to visual art. The Scratch Orchestra had no fixed leader or conductor; rather, everyone was equally involved and implicated in the enactment of the score. The orchestra consisted of both musicians and nonmusicians acting as one “assembly” in a collective state of continuous training and research. The name of the orchestra refers to each member notating their accompaniments (understood as “music that allows a solo”) in a musician’s scratch book, in whatever notational language they see fit: “verbal, graphic, musical, collage, etc.,” as Cardew put it in his “constitution” for the group.”

Scratch Orchestra link here: https://www.youtube.com/watch?v=d8-4yl3Zvdo&feature=emb_title

Treatise (1963–67), Musical score. 

“The show, curated by Barbara Held and Pilar Subirà (Possibility of Action: The Life of the Score at the Museu d’Art Contemporani de Barcelona Study Center in 2008), reversed the conventional understanding of a score as an abstract representation of tone, taking instead as their starting point Cage’s contrary notion of the score as a representation of action with a unique and unpredictable result. The score is a generator of an action, they wrote, “to be performed, the outcome of which is unknown, and an end result that can never be repeated.”3 This view adheres to a typical chronology in which the score precedes the live enactment, standing as a precursor for a future iteration. The “unknown outcome” indicates the importance of chance and singularity assigned to the enactment of the score (particularly with respect to Cage), claiming it as the site of origin and performance as the site of singular presence, effect, and changeability.” (...) In the case of the Scratch Orchestra, its political dimensions include the democratic way its members developed a language for the score, in which they took a written instruction by Cardew and each developed it into myriad methods and forms of notation.”  

Jani Christou

Greek composer. 

Strychnine Lady (1967)

This work belongs to Christou’s last compositional period, during which he experimented with a personal art form that involves stage performance, mythical archetypes, dramatic elements and avant-garde materials and means. At this time, he also introduced new concepts, such as metapraxis and protoperformance, in order to engage with elements of the unconscious, influenced, in particular, by the field of analytical psychology as shaped by the Swiss psychologist, Carl Jung (1875–1961). (From: https://llllllll.co/t/experimental-music-notation-resources/149/367)

Strichnine Lady Link here: https://www.youtube.com/watch?v=zVSTUR6uBSI

Epicycle, 1968.  

“The score for his late piece Epicycle (1968) includes both written instructions and drawn images that describe how to spatialize and time the performance, all of which lead to the execution of a “continuum”—that is, a continuous space for performance that participants could step in and out of and where, potentially, every observer could be cast as a performer” 

 https://www.youtube.com/watch?v=IuPHwdazjSs

(...) The interpreter becomes as much the “author” of the score or composition as the composer, if not more so, and the prevalent dialectics of origin(al) and result should be abandoned. Through the transaction of interpretation and subsequent execution (or in the case of Cardew’s Scratch Orchestra, the fabrication of score within a ­collective), the score becomes part of its own iteration. Within the language systems that are produced, the relationship between score and performance evolves as interdependent, and meaning is produced through a process of transaction, iteration, and repetition, akin to the notion of iterability that Jacques Derrida discusses in “Signature Event Context.”  

John Cage 

John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, artist, and philosopher. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. (wikipedia)

4′33′’ - Silent piece

Fontana Mix, 1958

«Fontana Mix» consists of a total of 20 pages of graphic materials: ten pages covered with six curved lines each, and ten sheets of transparent film covered with randomly-placed points. In accordance with a specific system, and using the intersecting points of a raster screen, two of the pages produce connecting lines and measurements that can be freely assigned to musical occurrences such as volume, tone color, and pitch. The interpreter no longer finds a score in the customary sense, but rather a treatment manual for the notation of a composition.

________________________________

“(...) the score can easily remain within the autonomy of its own materiality, but it may also manifest as or lead to the production of another object or live enactment, sketched out by the parameters of the score’s language.”

Greta Bratescu

Atelierul—scenariul (The Studio—the film script) (1978), charcoal, colored pencil, and pastel on paper, 89.5 x 116.8 cm. Museum of Modern Art, New York

Script developed for the performance film The Studio (1978)

“The script for The Studio, which consists of written instructions accompanied by miniature drawings of Brătescu’s studio, invokes this space as a stage that is literally inscribed with the actions of the artist: lie down, wake up, walk around, sit, lie down, etc. In the film, the transition between the first two scenes (“The Sleep” and “The Awakening”) and the third sequence (“The Game”) marks the passage from Brătescu’s purely private experience—sleeping and awakening, unaware of any external presence—to a situation in which the artist is conscious of the camera’s gaze and starts to perform. Brătescu is both the subject that performs and the object that is observed by herself as the one operating the camera; her studio is both a private and a public space. The script for The Studio is an important interlocutor between the subjectivity and objectivity that is enacted in the simultaneously private and public atmo­sphere of the artist’s studio. The figures she draws to represent herself in the score, abstractions of her own body, constitute a rudimentary style of self-portraiture. The text that accompanies and is superimposed on these drawings, in turn, references the actions of her body that manifest in the space of the studio as well as on film. The score highlights Brătescu’s role as author, interpreter, actor, and spectator in her work as it moves between self-portraiture, auto-instruction, and enactment. “

Film Still from The Studio, 1978. 

“(...) operations of chance, the relationship between language (as score) and event, and what Lucy Lippard described as the “dematerialization of the art object” in the American art context of the 1960s and 1970s: The curators’ selections included Yoko Ono’s instructional scores, Ian Wilson and Robert Barry’s conversation pieces, and Lawrence Weiner’s instructions for wall drawings, to name a few examples. Lippard’s notion of the dematerialized encompasses a wide range of media in which “the idea is paramount and the material form is secondary” and that “stress the acceptively open-ended.”

Yoko Ono

Instructional Scores

Conversation Piece, an event score from Grapefruit, 1964.

Joseph Beuys 

Joseph Beuys (12 May 1921 – 23 January 1986) was a German Fluxus, happening, and performance artist as well as a painter, sculptor, medallist, installation artist, graphic artist, art theorist, and pedagogue. (wikipedia)

Score for Action with Transmitter (Felt) Receiver in the Mountains, 1973

Fluxus

Founded in 1960 by the Lithuanian/American artist George Maciunas, Fluxus began as a small but international network of artists and composers, and was characterised as a shared attitude rather than a movement. Rooted in experimental music, it was named after a magazine which featured the work of musicians and artists centred around avant-garde composer John Cage.

The Latin word Fluxus means flowing, in English a flux is a flowing out. Fluxus founder Maciunas said that the purpose of Fluxus was to ‘promote a revolutionary flood and tide in art, promote living art, anti-art’. This has strong echoes of dada, the early twentieth century art movement.

Fluxus played an important role in opening up the definitions of what art can be. It has profoundly influenced the nature of art production since the 1960s, which has seen a diverse range of art forms and approaches existing and flourishing side-by-side.

Fluxus had no single unifying style. Artists used a range of media and processes adopting a ‘do-it-yourself’ attitude to creative activity, often staging random performances and using whatever materials were at hand to make art. Seeing themselves as an alternative to academic art and music, Fluxus was a democratic form of creativity open to anyone. Collaborations were encouraged between artists and across artforms, and also with the audience or spectator. It valued simplicity and anti-commercialism, with chance and accident playing a big part in the creation of works, and humour also being an important element.

Many key avant-garde artists in the 60s took part in Fluxus, including Joseph Beuys, Dick Higgins, Alice Hutchins, Yoko Ono, Nam June Paik, Ben Vautier, Robert Watts, Benjamin Patterson and Emmett Williams. (https://www.tate.org.uk/art/art-terms/f/fluxus)

Intentionally uncategorizable, Fluxus projects were wide-ranging and often multidisciplinary, humorous, and based in everyday, inexpensive materials and experiences—including everything from breathing to answering the telephone. When asked to define Fluxus, Maciunas would often respond by playing recordings of barking dogs and honking geese, perhaps confounding his questioner but also demonstrating the experimentation and embrace of absurdity at its core. Performances—which Fluxus artists called “Events,” in order to distinguish them fromHappenings and other forms of performance-based art—were a significant part of the movement. These were largely based on sets of written instructions, called “scores,” referencing the fact that they were derived from musical compositions. Following a score would result in an action, event, performance, or one of the many other kinds of experiences that were generated out of this vibrant movement. (https://www.artsy.net/article/artsy-editorial-fluxus-movement-art-museums-galleries)

Fluxus scores

In many ways, most Fluxus ‘scores’ (for music or other kinds of performance and/or composition) are fairly legible as scripts for performance/enactment; i.e. the text comes first and the performance after (if at all). Certainly, one of the interventions (and charms) of Fluxus scores were the openness of the scores, where interpretation and chance were much more important than following the letter of the law, as one might in traditional sheet music, for example. As such, reading Fluxus scores as performance texts allows us to see how writing can activate art/life works that writing cannot contain or control. (https://jacket2.org/commentary/how-make-us-flux-scoresscriptsinstructions) 

Toshi Ichiyanagi. Music for Electric Metronome. 1960 (Fluxus Edition announced 1963). Score. Master for the Fluxus Edition, typed and drawn by George Maciunas, New York. Ink and typewriting on transparentized paper, 11 3/16 x 15 3/16″ (28.4 x 38.5 cm)

Yasunao Tone. Anagram for Strings. 1961 (Fluxus Edition released 1963). Score. Master for the Fluxus Edition, typed and drawn by George Maciunas, New York. Ink and typewriting on transparentized paper, 8 1/4 x 11 11/16 (21 x 29.6 cm)

“While these scores can be enacted, their producers considered them stand-alone art objects and often exhibited them in galleries to be experienced for their visual qualities, for example in Tokyo’s Minami Gallery, where the 1962 Exhibition of World Graphic Scores introduced works by Fluxus artists George Brecht, Dick Higgins, and La Monte Young to a Japanese audience.” (https://www.moma.org/explore/inside_out/2012/12/21/exhibiting-fluxus-keeping-score-in-tokyo-1955-1970-a-new-avant-garde/)

“(...) the score can easily remain within the autonomy of its own materiality, but it may also manifest as or lead to the production of another object or live enactment, sketched out by the parameters of the score’s language.” 

(...)

To wade into the muddy waters of the score as an “original,” it is key to look more closely at the score’s relationship to temporality and chronology. In the traditional musicological sense, the score acts as a precursor to an event. Each live enactment can be traced back to the score as a kind of “core material,” so that in the score future performances—and thus temporalities—are latent. Additionally, a score can emerge from a live iteration, or, at the least, may be adapted according to it. Though highly unstable in terms of representation, the score has a documentary aspect—and in turn becomes a forecast of future performances—thus further augmenting the complex multi-chronicities that the score conjures.

José Maceda

Filipino composer José Maceda. Trained as a concert pianist in the 1930s and later obtaining degrees in musicology, anthropology, and ethnomusicology in the United States, Maceda started composing his major works in the 1960s. 

(...) Maceda’s lifelong endeavor (he died in 2004): a dissimulation of the cultural hegemony of Occidental music and its core principles of logic and causality in favor of researching a set of values indigenous to the eco-social relations, oral and mystical traditions, production of musical instruments from natural materials, and concepts of time in Southeast Asian culture26—in short, a decolonization of Filipino music and its forms of notation in the context of Southeast Asia.

One of Maceda’s most ambitious works, entitled Ugnayan (Correlation, 1974), is a composition of Filipino village music that was scored and recorded on twenty channels that were then broadcast simultaneously on twenty of Manila’s radio stations. Hundreds of thousands of the city’s residents gathered in public spaces with portable transistor radios to listen to the different tracks created for each station, with the citizenry collectively assembling the composition in a massive public ritual of converging indigenous history, time, and space in the urban fabric.

----- 

“Performance, as an act that exists momentarily, has been generally discussed within an archival logic that privileges materiality over immateriality, celebrating its ephemerality, impermanence, and ontological unicity—“performance’s being … becomes itself through disappearance,” as Peggy Phelan initially put it.32 In his catalogue essay for the 1998 exhibition Out of Actions: Between Performance and the Object, 1949–1979 at the Museum of Contemporary Art, Los Angeles, Paul Schimmel even goes so far to say that performance is constituted by a drive towards destruction, marking an “underlying darkness” in performative work that is informed by a seemingly Freudian death drive.33 The definition of performance as that which cannot remain and thus “disappears” relies on a rationale that considers performance as antithetical to history, memory, and the archive, an unjust fate it shares with other immaterial practices, such as oral histories, storytelling, and gestural practices, that are also always incomplete, always reconstructive, and thus escape lineage to a singular original.”

“Under this new understanding of the archive as including the corporeal, the body is no longer the object on which a choreographic notational device is projected. The flesh becomes the score, the muscle, and the tissue—the languages through which a work is interpreted, transmitted, embodied, and then performed. This paradigm defies an understanding of the archive as an architecture of objects or documents and opens up ways to think about it anew, as reflecting movement and sound, bodies and waves, time and variations. Within this archive structure, the flesh is activated as a “physicalized relational field of interaction, intensities, techniques, histories, traces, and relicts of experienced information … with its own history and genealogy,” as Van Imschoot argues.38 This position paves the way for a different understanding of the score, away from the terms of a material object to something that can be held in the human body, or, at the very least, exists always in connection with embodiment through enactment.”

Katalin Ladik

From the late 1960s on Ladik started to publish her poems and, subsequently, to perform and record them as speech acts. During these performances, which often included music and choreographed movement, she transformed the language of her written poetry, which necessarily adhered to a linguistic system of regulation. Vowel prolongation, repetition of consonants, words that seem to come from her gut, her throat, her mouth; such techniques became an early repertoire that was often performed as a shamanistic ritual, enacting the poems through the artist’s body, as an extension of her voice and her language. Sentences became embodiments, words produced their meaning through ritualized gestures, letters were spat out or swallowed—a corporeal manifestation of language.

UFO Party, 1969.

Pauline Oliveros

1932-2016   Pauline Oliveros' life as a composer, performer and humanitarian was about opening her own and others' sensibilities to the universe and facets of sounds.    Her career spanned fifty years of boundary dissolving music making.  In the '50s she was part of a circle of iconoclastic composers, artists, poets gathered together in San Francisco. In the 1960's she influenced American music profoundly through her work with improvisation, meditation, electronic music, myth and ritual.

She founded "Deep Listening ®,"  which came from her childhood fascination with sounds and from her works in concert music with composition, improvisation and electro-acoustics.  She described Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing.  Such intense listening includes the sounds of daily life, of nature, of one's own thoughts as well as musical sounds. (https://paulineoliveros.us/about.html)

sonic meditations (1974)

Published in 1974, Pauline Oliveros’ Sonic Meditations is one of the most seminal, if not under-recognized, works in late 20th century avant-garde musical thought. Within it, the grande-dame of American Minimalism not only departs from standard musical notation, but with the entire conception of where music grows from, and how it can be realized. Her focus lies on the cognition of sound – largely through the practice of meditation, and group participation. She highlights the virtues of meditation for making sounds, imagining sounds, listening to, and remember sounds, and sets into action twelve text scores to help practitioners realize these new relationships. Sonic Meditations is as much a workshop for use, as it is a series of pieces. (https://blogthehum.com/2016/09/13/pauline-oliveros-sonic-meditations-1974-the-complete-text-and-scores/)

Guillermo Galindo

(b. 1960, Mexico City) is an experimental composer, sonic architect and performance artist.

Score for War Map (2017) 

Acrylic on polyester military blanket 152.4 × 208.3 cm (detail)

In War Map, Galindo uses a military-green blanket as the substrate for a printed composition drawn from collaged and overlayed representations of immigration patterns as digitally mapped on the website Lucify.com. The blanket was donated by Mr. Kurt Heldmann, who works in the reception camp for refugees in Calden, Germany. By combining the visual languages of maps and graphs; musical notation; and more organic, natural motifs suggesting proliferation and motion, the artist skillfully demonstrates that these strategies for visually representing movement through time and space have much in common, and that all movements — even tragic or difficult migrations of people — can be represented such that their own subtle rhythms and musicality are revealed. Galindo describes the digital representations of migration patterns as “surprisingly archaeological” in their look, yielding the sense of a surreal, Borgesian map, and explains that he manipulated the work’s various shades of blue in an effort to mimic the Aegean Sea. (http://www.magnoliaeditions.com/artworks/we_all_have_a_place_at_the_table/)

Score for We All Have a Place at the Table (2017) 

Acrylic on cotton tablecloth 54.2 × 157.5 cm (detail)

His third work, We All Have a Place at the Table, is printed on a found tablecloth that still bears stains from meals at the refugee camp. All of the abstract patterns and shapes printed upon its surface were derived from the modest but sophisticated embroidery that already adorned the tablecloth – a simple pattern of repeated small modules whose uncanny resemblance to systems of notation and representation used in music or mathematics appealed immediately to the artist.

(http://www.magnoliaeditions.com/artworks/we_all_have_a_place_at_the_table/)

[efthasunshine]

The function of music is to create soul, by creating conditions for myth, the root of all soul.

Where there is no soul, music creates it. Where there is soul, music sustains it.

Jani Christou Chios, 23rd Aug 1968

[ksnhr2015]

Program Athens/Kassel, June 26–July 2, 2017

Program Athens/Kassel, June 26–July 2, 2017

Öqe Veranstaltungen 26. Juni.–2. Juli 2017 Montag, 26. Juni 2017 Otobong Nkanga, Carved to Flow (2017) Performance 10–20 Uhr, Neue Galerie Jani Christou, Epicycle for any participant Performance 10–20 Uhr, documenta Halle und alle anderen Veranstaltungsorte Narimane Mari, Le fort des fous Filmvorführung 11 Uhr, 14 Uhr, Ballhaus Stefanos Tsivopoulos, Precarious Archive Performance 14:30–17:30 Uhr,…

[caveartfair]

Glenn O’Brien, New York Cultural Icon, Dead at 70—and the 9 Other Biggest News Stories This Week

Catch up on the latest art news with our rundown of the 10 stories you need to know this week.

01  Glenn O’Brien, the pioneering writer who captured the creativity of downtown New York, has died at 70.

(via Artforum)

Glenn O’Brien passed away on April 7th, after battling a long-term illness. A fixture in the 1980s downtown New York scene, O’Brien corralled its artistic energy into magazines like Andy Warhol’s Interview, serving as its first editor, and articles for Artforum, Rolling Stone, GQ, The New Yorker, and more. From 1978 to 1982, O’Brien also co-created and hosted an influential public-access television show, TV Party, in which he conducted humorous, deadpan interviews with downtown luminaries like Klaus Nomi, David Byrne, Debbie Harry, and Jean-Michel Basquiat. O’Brien collaborated with Basquiat on numerous projects before the painter’s untimely death in 1988; notably, he produced and wrote the screenplay for Downtown 81, a 1981 film that followed 19-year-old Basquiat around the city as he painted its surfaces. Along with extensive writings on art, O’Brien is remembered for his keen sense of style and pioneering men’s fashion journalism. In the 1990s, as contributing editor to Details magazine, he established the celebrated column “Style Guy,” which in 1999 he took to GQ; it ran until 2015.

02  The artist list for Documenta 14 was released on Thursday as previews of the quinquennial exhibition commenced.

(via ARTnews)

Opening to the public on Saturday, April 8, Documenta 14 is split equally across two cities—Athens, Greece and its traditional home of Kassel, Germany—for the first time in the exhibition’s 62-year history. Titled “Learning from Athens,” Polish curator Adam Szymczyk’s iteration of one of contemporary art’s most significant and defining exhibitions features some 150 living artists and collectives, including Nevin Aladağ, Alexandra Bachzetsis, Geta Brătescu, Maria Eichhorn, Douglas Gordon, Hans Haacke, Hiwa K, Daniel Knorr, Ibrahim Mahama, Jonas Mekas, Otobong Nkanga, Pope.L, Georgia Sagri, as well as over 50 artists who have passed away—another break with tradition. The Athens portion takes place across 47 venues in the city and runs through July 16th, while Kassel will take place from June 10th through September 17th at currently undisclosed locations. As is customary for the exhibition, details about either city were scarce until Thursday morning’s press conference in Athens, where the artists for that city’s portion of the show were unveiled in spectacular fashion: All of the participating artists and curators appeared on stage to sing a work by Greek composer Jani Christou.

03  A federal court has ruled that Germany can be sued in the United States over Nazi-looted art, paving the way for the nation to face a U.S. court for the first time in a Nazi restitution case.

(via Reuters)

In what lawyers for the heirs are calling a landmark decision, last Friday a Washington D.C. District Court ruled that Germany can be sued in U.S. court in the Guelph Treasure case. A collection of 11th to 15th century precious Prussian artifacts valued at over $250 million, the treasure was sold under duress by Jewish art dealers in 1935 to members of the Third Reich. The case had already been heard by a German commission, which found that, though the sales prices were low, the sum wasn’t a result of coercion but of an art market decline. Germany’s attorney, Jonathan Freiman, told Reuters in an email that “this is a dispute that was already resolved on the merits in Germany, and it doesn't belong in a U.S. court.” But the District Court disagreed, instead siding with the argument put forward by the heirs of the dealers: that such a taking constituted a violation of international law and as such, falls under U.S. jurisdiction as an exception to the Foreign Sovereign Immunities Act. Nicholas M. O’Donnell, a partner at Sullivan & Worcester representing the plaintiffs, said in a statement, “We are pleased that the Court agreed that a forced sale for an inadequate sum to agents of Hermann Goering enjoys no immunity from justice.”

04  Renowned Pop artist James Rosenquist has died at age 83.

(via the New York Times)

James Rosenquist passed away in his New York City home on Friday, March 31st, after battling an ongoing illness, according to his wife, Mimi Thompson. Rosenquist is known for working at the vanguard of 1960s Pop Art alongside the likes of Andy Warhol and Roy Lichtenstein. Both celebrated and criticized for his pointedly political approach, Rosenquist, a former billboard painter, frequently adapted commercial imagery to critique American consumerism and militarism. F-111 (1964–1965), one of his most iconic works, depicts a military jet stretched across an 86-foot expanse of more than 50 panels and punctured by the imagery of mid-century advertising. His idiosyncratic, large-scale paintings are in the collections of MoMA, the Guggenheim and the Whitney, among other institutions, and an exhibition of his work will go on view at Germany’s Museum Ludwig later this year.

05  An Andy Warhol “Mao” broke an auction record in China but still came in under its estimate, sparking a debate about the country’s market.

(via South China Morning Post)

Backed by an irrevocable bid, Warhol’s red silkscreen Mao (1973) sold for HK$ 86 million ($11.1 million) with fees—below the low estimate of HK$ 90 million ($11.6 million)—at a Sotheby’s auction in Hong Kong on Sunday, April 2nd. Last sold at auction in 2014 for $12.2 million, the Warhol went to an unnamed Asian collector bidding over the phone. Though the sale was trumpeted for breaking the record for Western contemporary art sold in China, the relatively tepid interest in the Warhol work and a piece by Keith Haring—especially compared to the strong interest in Asian and Japanese art at the auction—signaled to some that the region’s appetite for Western contemporary artists has softened. But there are other reasons the Warhol may have underperformed. Dealers at Art Basel in Hong Kong earlier this month reported that stereotypically “Chinese” material no longer plays well in the region due to collectors’ rapidly expanding education and sophistication—one even singled out red Maos as a fad of the past. Asian buyers, dealers also said, have been compelled to spend more when bidding against Western collectors at sales in New York and London.

06  Groundbreaking artist Lorna Simpson is now represented by Hauser & Wirth.

(via Hauser & Wirth)

The international gallery announced Tuesday that it will take on worldwide representation of Simpson. This news precedes Frieze New York in May, where the artist’s work will show at Hauser & Wirth’s booth. “We are honored and delighted to welcome Lorna Simpson into the gallery’s family,” said gallery vice president Marc Payot in a statement. “Her rigor, her passion, and her incredible sensitivity produce not only extraordinary art but also an invitation to engage in a dialogue about identity that we are eager to share.” Since rising to prominence in the late 1980s, Simpson’s mixed-media photographs have scrutinized visual and linguistic representations of race and gender. In 1990, she became the first African-American woman to show her work at the Venice Biennale. Other artists represented by Hauser & Wirth include Zoe Leonard, Roni Horn, and Rashid Johnson.

07  Several museums are celebrating the 100th anniversary of Marcel Duchamp’s seminal readymade Fountain by offering free admission on Sunday.

(via Hyperallergic)

Organized by Duchamp scholar Thomas Girst, several major museums across the globe—including the Philadelphia Museum of Art, the Hamburger Bahnhof in Berlin, and the National Museum of Modern Art in Kyoto—are participating in the initiative, which also has the approval of Association Marcel Duchamp. Visitors who utter the name “R. Mutt” or “Richard Mutt,” the pseudonym Duchamp used to sign Fountain (1917), will be let in free of charge from 3-4 p.m. on April 9th. The timing stems from Duchamp’s notable affinity for trios (he once remarked “three is everything” to a BBC reporter). Inspired by the urinal used for Fountain, some museums will also host Duchampian events in their bathrooms. In what the Philadelphia Museum of Art is calling a “special location,” the institution will host a local theater company’s reenactment of the scandal first caused by the artwork in 1917. “Instead of doing your usual symposium, where people put their heads together and say things that have been said so many times before—most of it self referential and sometimes boring—it’s great to honor the anniversary with somewhat of a Dada gesture,” Girst told Artsy. Visitors can tag their experiences or follow along with the festivities via the hashtag “#Fountain100”.

08  Russia has criminalized images that challenge Vladimir Putin’s masculinity.

(via New York Times)

The Russian Justice Ministry declared last month that images showing Russian President Vladimir Putin in an unmasculine light constitute “extremist materials.” The ruling stems from an edited image depicting Putin in heavy drag makeup posted last year to the social network VKontakte. Those who share or display such images can now face a fine of 3,000 rubles ($52) or a 15-day detention. Putin is known for his cultivation of a personal mythos of hypermasculinity, with widely publicized photos showing him riding horses shirtless or sporting weaponry. Putin is also notorious for enacting deeply homophobic legislation—including a ban on adoptions by LGBT couples, the legalized detention of suspected gay citizens and tourists, and the classification of potential “homosexual propaganda” as pornography. This has led to allegations about Putin’s sexuality to become a common protest tactic, a trend this legislation is designed to stifle.

09  The FBI has recovered a stolen Norman Rockwell painting, 40 years after its disappearance.

(via the New York Times)

The Rockwell work, which depicts a slumbering child and his dog, was stolen during a home burglary in 1976. Originally purchased for no more than $100, over the intervening years the piece’s value has reached an estimated $1 million. Decades after the theft—and a few years after the original owner, Robert Grant, passed away in 2004—Grant’s son, John, was inspired to rekindle the search. On the 40th anniversary of the work’s theft, the FBI issued a news release and several Philadelphia outlets ran the story. The renewed attention did the trick as the painting had ended up in the possession of an art dealer who was unaware of its provenance. The dealer turned it over to authorities and the FBI subsequently returned the painting to John Grant last week.

10  A court cleared the Polish government’s controversial takeover of the country’s Museum of the Second World War.

(via New York Times)

The institution will fall under control of the Polish government following Wednesday’s decision by the Polish Supreme Administrative Court. Opened in March in the city of Gdańsk, the museum was conceived to be Europe’s most exhaustive public exhibition on World War II. However, indication that Poland’s right-wing government will seek to alter the museum’s historical direction has ignited a protracted debate. Museum director Pawel Machcewicz curated a permanent exhibition that adopts an international perspective on the histories of Polish citizens, Eastern Europeans, and Nazi Germany’s persecution of Jews. The current Polish administration has long criticized Machcewicz—an appointee of the previous centrist government—placing his future with the museum into question. Poland’s culture ministry has expressed its vision for a more nationalist perspective, one more narrowly focused on Polish losses during the Battle of Westerplatte. Culture Minister Piotr Glinski had previously argued that such a change in conceptual direction would greatly benefit the museum. And on Wednesday, Machcewicz criticized the court’s ruling, expressing his uncertainty over the permanent exhibition’s future integrity.

Cover image: Courtesy of Twitter (@lordrochester).

from Artsy News

[sibandel-blog1]

Any Wednesday (1966)

Any Wednesday (1966)

Ellen Gordon, a New York executive's mistress falls for the executive's young business associate when the young man is accidentally sent to use the apartment where the executive and his mistress get together every Wednesday. More complications arise when the executive's wife shows up with plans to redecorate the apartment.

Try three more:

Northern Star (2003)

A Tale of Two Worlds (1921)

Anaparastasis: Life & Work of Jani Christou (2012)