Musiche Visibili (Dreamscapes)
May issue with Peter M. Kersten (aka Lawrence) and Phillip Sollmann & Konrad Sprenger
The City Of Tomorrow
Peter M. Kersten (aka Lawrence)
The City Of Tomorrow is dedicated to Berlin’s modernist district Hansaviertel, built in 1957 and the Brussels residential neighborhood Koekelberg. The architecture of both places is modeled in Marina Pinsky’s bronze sculptures, featured in the video. Music and visuals were recorded and edited while staying in those neighborhoods in 2020 and 2021.
Peter M. Kersten (b.1970) lives and works in Berlin. His first vocation was as a landscaper. In 2000 he started the label Dial Records and has been part of the Sky Walking collective since 2005. Kersten has released music under his moniker Lawrence on labels such as Smallville, Giegling and Mule Musiq. His latest album Birds On The Playground is dedicated to the natural wine bar Studio Mule in Tokyo. Working on his first experimental video Music For Plants in 2020 inspired Peter Kersten to return to his gardening activities.
Phillip Sollmann & Konrad Sprenger
Modular Organ System – Drift
The Modular Organ System is a computer-controlled organ pipe instrument that reflects the acoustic, architectural and social parameters of each specific site and can be adapted to any performance location. The sounding sculpture creates an environment in which visitors can move freely and become a part of the installation/performance.
Phillip Sollmann (b.1974) lives and works in Berlin as an artist and composer under his real name; As Efdemin he has released several albums and holds a residency at Berghain. Since 2017 he has been working with Konrad Sprenger on the extensive project Modular Organ System.
Konrad Sprenger (b. 1977) is a Berlin-based artist, composer, and music producer. Sprenger has long-term collaborations with Arnold Dreyblatt, Ellen Fullman, Oren Ambarchi and luminary bands as Ethnostress, Rom, Ei and the art group Honey-Suckle Company.
Musiche Visibili (Dreamscapes)
The inability to remain still is one of the fundamental characteristics of sound. By its very nature, the sound structure experiences a constant movement in which dynamic and elastic forms and accents aggregate. Music goes far beyond itself and its most obvious recognisability, displacing all possible definitions of genre and structure. “Musiche Visibili” – visible music – takes its title from a 1977 work by Walter Marchetti, an Italian artist and composer known for his work related to the intersection of visual art, performance and Avant Gard music. And the aim of this project, conceived for the 5me Etage of the Centre d’art contemporain, is to create a series of presentations, alternating video and sound with pure musical contributions. This intersection of moments aims to reconfigure two fundamental aspects of the work of the invited artists: performativity as a visual guideline and the possible redefinition of an aesthetic for music. “When I listen to what we commonly call music, I have the feeling that someone is talking to me, talking to me about their feelings, their ideas, their relationships…”.
Cage’s vision, represented by this thought of his, takes the form that “Visible Music” was seeking: the articulation of the concept of sensitive and visible music in its pure state; sound that enhances its contradictory action by playing with the unconscious, with its demons, its visions. Good listening, good vision. – Gigiotto Del Vecchio