A fully lit light bulb hangs in the corner of a room, at ceiling level. Through a metal wire, it descends towards the opposite diagonal at floor level, while a musician plays a piece by rubbing the rims of tuned crystal glasses, using all the notes these objects produce. As the bulb moves forward, the light gets dimmer and fades out.
But the light is not the only thing that vanishes away. During the performance, the musician ceases to play certain notes as they start resonating in a different angle of the room, where there is a speaker. After twenty minutes, the light bulb goes out completely and visitors may listen to the overlapping of all these sustained sounds that the musician has stopped emitting, in complete darkness.
In Twilight, music evolves into sound as light becomes darkness.
Interpreter: Miguel Rausch.
Date: June 6 and 7
Time: 2, 3, 4, 5 and 6 pm
Venue: Centro Cultural Kirchner
Free admission / Limited capacity
Co-production Centro Cultural Kirchner – Argentine Ministry of Culture with the support of arteBA
Jorge Macchi 1963, Buenos Aires, Argentina.
He lives and works in Buenos Aires, Argentina.
His work is the result of the juxtaposition of different influences which rather than closing taxonomies, they open up to experiences and lead the viewer to bifurcations in visual language. He studied at the National School of Fine Arts Prilidiano Pueyrredón (Buenos Aires, Argentina, 1983). He earned important grants and fellowships from several institutions including Artpace San Antonio (Texas, United States, 2005); Civitella Ranieri Center (Umbertide, Italy, 2002), and John Simon Guggenheim Memorial Foundation (New York, United States, 2001). Chief among his performances are TWG100 Autoteatro (Fundación Proa and Centro Cultural Rector Ricardo Rojas, Buenos Aires, Argentina, 1999; Le 19 Crac, Montbéliard, France, 1999), and Glosa (Fundación Proa, Buenos Aires, Argentina, 1999; Civitella Ranieri Center, Umbertide, Italy, 2002). He has presented many solo exhibitions including: Prestidigitador (MUAC, Mexico City, Mexico, 2014); Container (Museo de Arte Moderno de Buenos, Buenos Aires, Argentina, 2013; Kunstmuseum Luzern, Lucerne, Switzerland, 2013); Music Stands Still (Municipal Museum of Contemporary Art, Ghent, Belgium, 2011); Anatomía de la melancolía (Santander Cultural, Porto Alegre, Brazil, 2007; Blanton Museum of Art, Texas, United States, 2007; Centro Gallego de Arte Contemporáneo, Santiago de Compostela, Spain, 2008); Jorge Macchi (Le 19 Crac, Montbéliard, France, 2001), and The Wandering Golfer (MUHKA, Antwerp, Belgium, 1998). Some of the most recent collective exhibitions featuring his work include: Daros Latinamerica Collection (Beyeler Foundation, Basel, Switzerland, 2014); Naturaleza Morta (Inhotim Institute, Brumadinho, Brazil, 2013); América Latina, 1963-2013 (Cartier Foundation for Contemporary Art, Paris, France, 2013); Saber desconocer [43 Salón (inter) Nacional de Artistas, Medellin, Colombia, 2013]; Facing Walls, Opening Windows (Galleria Continua, Beijing, China, 2012); Anotaciones: bajo la influencia de John Cage (Hunter College, The City University of New York, New York, United States, 2012); Um Outro Lugar (MAM - Museu de Arte Moderna de São Paulo, São Paulo, Brazil, 2011); Del pasado al presente. Migraciones, at the Centennial International Exhibition (Museo Nacional de Bellas Artes de Chile, Santiago de Chile, Chile, 2010); Everything Is Out There (La Casa Encendida, Madrid, Spain, 2010); Escuelismo - Arte argentino de los 90 (Malba, Buenos Aires, Argentina, 2009), and Extranjerías (Espacio Fundación Telefónica, Buenos Aires, Argentina, 2009). Between 2011 and 2012, he was part of the art biennials of Liverpool (England), Sydney (Australia), Lyon (France) and Istanbul (Turkey), among others.
Edgardo Rudnitzky 1956, Buenos Aires, Argentina
He lives and works in Berlin, Germany.
He is percussionist, composer and sound artist. His work explores the nature of sound in its physical presence, as well as the boundaries and potential aspects of musical instruments by reinventing the purpose of objects, such as a boat, a recorder, or a watch, through precise and fine construction systems. He studied percussion at the National Conservatory of Music Carlos López Buchardo, composition with Carmelo Saitta and Gerardo Gandini, music analysis with Belloq, and music production with electro acoustic media with Francisco Kröpfl. His solo presentations include Swing for Poe (Galerie Mario Mazzoli, Berlin, Germany, 2014; Festival 90dB, Rome, Italy, 2014); Cicadas (Naturkundemuseum Potsdam, Potsdam, Germany, 2013); Nocturno (Version for 15 Monocords) (Fundación Proa, Buenos Aires, Argentina, 2012); A Bordo del Cuore d'Oro, en Art First Bologna (Museo Internazionale e Biblioteca della Musica, Bolonia, Italy, 2012), and Caribbean Whispers, at the Wassermusik Festival (Haus der Kulturen der Welt, Berlin, Germany, 2009). He participated in collective exhibitions, such as Notations: The Cage Effect Today (Hunter College Gallery, New York, United States, 2012), and Automata a Cappella (Galerie Mario Mazzoli, Berlin, Germany, 2011). He co-created with choreographer María Colusi the performances: Get into the Line (Lake Studios, Berlin, Germany, 2014); Freistil (TanzFabrik, Berlin, Germany, 2012-2014), and Witness (Uferstudios, Dock 11, Berlin, Germany, 2011-2013). He collaborated with Charly Nijensohn in the video-installations El naufragio de los hombres, Dead Forest and Estado de emergencia (ADK Berlin, Berlin, Germany; Museum Morsbroich, Leverkusen, Germany; Fundación Telefónica, Buenos Aires, Argentina, 2009-2014). He composed the soundtrack for the Karsten Liske' film História (Berlin, Germany, 2007); Albertina Carri's Géminis (Buenos Aires, Argentina, 2005), and Verónica Chen's Vagón fumador (Buenos Aires, Argentina, 2001). He also composed music for plays including Romeo und Julia by Alejandro Tantanian (Luzerner Theater, Lucerne, Switzerland, 2006); Skin, directed by Luciano Suardi (Akademie Solitude, Stuttgart, Germany, 2004); El siglo de oro, directed by Rubén Szuchmacher (Teatro ElKafka, Buenos Aires, Argentina, 2003), and El inspector, directed by Villanueva Cosse (Teatro General San Martín, Buenos Aires, Argentina, 2000).
Jorge Macchi and Edgardo Rudnitzky carried out several joint projects, chief among them: Last Minute (Projecto Octógono, Pinacoteca do São Paulo, São Paulo, Brazil, 2009); Little Music (Prospect 1, New Orleans, United States, 2008); Twilight (Yokohama Triennial Sankeien Garden, Yokohama, Japan, 2008); Fim de Film (Mercosur Biennial, Porto Alegre, Brazil, 2007); Light Music (University Gallery, University of Essex and First Site Gallery, Colchester, England, 2006); Streamline (Galleria Continua, San Gimignano, Italy, 2006); La ascensión (Venice Biennale, Palazzo Palagraziussi, Oratorio San Filippo Neri, Venecia, Italy, 2005), and Buenos Aires Tour (Istanbul Biennial, Istanbul, Turkey, 2003).