Ulises Carrión
"The work of Ulises Carrión is distinguished by two common denominators: communication and distribution. He employed diverse techniques and media in order to create a complete cultural product. The tools of his trade were the means he appropriated: postage stamps, television, the radio, mail, among others. He expertly manipulated and reinterpreted these appropriations within an art context. He claimed that he was 'using culture as a much more broader concept than art (...) the utilisation of various media -visuals, mail, sound- is not considered anymore to be a determining factor in the art activity, but it is rather, the coordination of a complex system of activities occurring in a social reality and including as well, non artistic factors: people, places, objects, time, etc.'"[source]
"Chinese Checker Choir is based on the interaction between everyday objects. First and foremost a number of checker pieces are placed randomly on a turntable. This turntable is then switched on, and the pieces start to move. As the turntable picks up speed, the pieces fall off - and the setting goes from order to chaos. This documented process resembles an experiment of gravity - as the speed of the turntable increases, the pieces lose their grip. The speed, the time, the number of Chinese checker pieces and the way in which they leave the turntable, determine the sound that is being produced. With its focus on process, Chinese Checker Choir refers to the tradition of performance art. There is, however, a second category into which this work could be placed: namely that of sound art."
30 second excerpt
"Carrión's passion for language, its structures, sounds and meanings is reflected by his intense interest in grammatical forms and concepts. He greatly enjoyed grammatically dissecting languages and trying to understand and explore their structures as well as learning new languages. Carrión's audio works clearly reflect this passion. In Hamlet for Two Voices (1977) two voices read out the names of the characters in the Shakespearean play as they appear in the script, audibly representing the structure of the roles the characters perform. With reference to plays he claimed: 'A play is a structure. The elements of this structure are speeches and actions (...) The characters are not what they say they are. The characters are what their function within the structure of the play tells us they are.' Poema (1977) orally represents the structure and spatial characteristics of a poem, by listing all its structural elements: words, paragraphs and verses, etc." [source]
>> Wish I could listen to it.
"Chinese Checker Choir is based on the interaction between everyday objects. First and foremost a number of checker pieces are placed randomly on a turntable. This turntable is then switched on, and the pieces start to move. As the turntable picks up speed, the pieces fall off - and the setting goes from order to chaos. This documented process resembles an experiment of gravity - as the speed of the turntable increases, the pieces lose their grip. The speed, the time, the number of Chinese checker pieces and the way in which they leave the turntable, determine the sound that is being produced. With its focus on process, Chinese Checker Choir refers to the tradition of performance art. There is, however, a second category into which this work could be placed: namely that of sound art."
30 second excerpt
"Carrión's passion for language, its structures, sounds and meanings is reflected by his intense interest in grammatical forms and concepts. He greatly enjoyed grammatically dissecting languages and trying to understand and explore their structures as well as learning new languages. Carrión's audio works clearly reflect this passion. In Hamlet for Two Voices (1977) two voices read out the names of the characters in the Shakespearean play as they appear in the script, audibly representing the structure of the roles the characters perform. With reference to plays he claimed: 'A play is a structure. The elements of this structure are speeches and actions (...) The characters are not what they say they are. The characters are what their function within the structure of the play tells us they are.' Poema (1977) orally represents the structure and spatial characteristics of a poem, by listing all its structural elements: words, paragraphs and verses, etc." [source]
>> Wish I could listen to it.
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