Filippo Tommaso Marinetti
Zang Tumb Tuuum. Adrianopoli ottobre 1912. Parole in libertá, Milán: Edizione Futuriste di "Poesia", 1914
Filippo Tommaso Marinetti
Parole in libertà: consonanti, vocali, numeri, Milan: Direzione del Movimiento Futurista, 11 February 1915
Dada Almanach, Berlin: Erich Reiss, 1920
Les journaux des dieux, Paris: Aux Escaliers de Lausanne, 1950
Unpublished design of the cover of OU - Cinquième Saison, n. 20-21, 1964. Gouache on paper, 25.5 x 50 cm
Untitled, 1965, for OU - Cinquième Saison, n. 23-24, 1965. Mixed media on photograpic paper, 24 x 22.7 cm
OU - Cinquème saison, n. 25, Paris/Niort: OU / Impr. Nicolas, 1965
François Dufrêne, Paul de Vree, Julien Blaine, Henri Chopin
Revue-Disque 28-29, 1965, for OU - Cinquième Saison, n. 28-29, 1966
Leaflet and handwritten letter, part of OU - Cinquème saison, n. 32, 1967
Shozyg I, 1969, for OU - Cinquème saison, n. 34-35, n.d. [1969?]. Mixed media, 24.3 x 18 cm
Cover and mould of OU - Cinquème saison, n. 36/37, February 1970
OU - Cinquème saison, n. 38/39, Ingatestone: Henri Chopin / The Gate House, n.d. [1971?]
Untitled, n.d. [1971?], for OU - Cinquème saison, n. 38/39, n.d. [1971?]. Silkscreen on cardboard, 32.4 x 25.8 cm
22 September, 2020 - 01 March, 2021
Curated: Maike Aden
Across the twentieth century’s different avant-garde movements, and as the processes through which music freed itself from its own norms moved forward, sound burst forth in different directions in the field of visual arts, coming into its own in hitherto unexplored artistic spaces. Audible phenomena and events became plastic materials that could be processed vocally and technically —on one side, sound arts were mixed with visual arts, coinciding with the technological development of new mediums of sound recording and synthesis; and, on the other, the interest in the soundscapes of industrial and urban modernity, and the sounds of the phonatory body (mouth noises, tongue clicking, different ways of drawing breath, and so on).
Therefore, this exhibition displays a selection of forms, genres, approaches and unique examples as it spans different initiatives that moved beyond pre-defined categories in modern and contemporary art until 1980. The show places the accent on different pivotal moments: the Futurist experience of building instruments to modulate noises; visual artists’ fascination with the tape recorder around the midway point of the 20th century; and spatial, musical and multimedia experiments, for instance the Philips Pavilion designed by Le Corbusier and Iannis Xenakis, with music by Edgar Vàrese, for the Brussels World’s Fair in 1958.
The repeated questioning of classical music forms is also the subject of a critical revision in the exhibition: from the Dadaists’ deployment of non-discursive phenomena — such as Ursonate by Kurt Schwitters (1932)— the incursion of the visual into the heart of poetry and musical notation, Man Ray’s unplayable instrument Emak Bakia (1926), and the musique barbare essays of Karel Appel (1963), to the thunderous wail of punk, on the threshold of the 1980s, announcing a “non-future”.