The End of History
Hogar Collection, Brooklyn (May 2009)
Mason Gross Galleries, New Brunswick (September 2009)
In this, my most recent confluence of theory and practice, these appropriated historic pieces of music are used as a springboard to an intertextual critique of the interaction of cultural production and form. Inspired by the Marxian/ Hegelian notion of the end of history as the transformative edification of a class free utopia, these explorations will culminate in a series of pieces and writings reflecting a structural analysis, not only of the music but the systems of power that were responsible for its original creation. What were the prevailing models of philosophical thought and how were they materialized in political systems? How was the interaction of political and religious power expressed in musical form? How can we use this to critique the current systems of cultural production? Aside from the compelling forms and instrumentation, the works of the baroque, classical and romantic periods remain interesting to me because they are products of clearly defined socio political power dynamics. European royalty and religious authorities commissioned many of these pieces. The realization and presentation of these works were completely dependent on how they reinforced the values of the power structure.
My initial explorations have led to the presentation of installation and performance projects involving the works of Bach, Beethoven, Mozart and Vivaldi. deComposition 1+ Eroica (2006) is an installation consisting of a 5.1 surround sound listening environment and digital prints. Beethoven’s first and third symphonies, composed during the rise of Napoleon, are radically altered as the source material for the soundscape. This piece was featured In the Sonic Self interdisciplinary sound art exhibit at the Chelsea Art Museum in New York, during mid 2008. A multi media performance version of the piece, The End of History v.2, was presented at the exhibit’s opening.
In this latest incarnation, the rich organ textures and score of Bach’s early 18th century Toccata and Fugue in D Minor serve as a point of departure for the production of a new 5.1 surround sound installation and accompanying 30X 40 archival prints. Aside from being one of Bach’s most widely known organ pieces, the Toccata and Fugue in D Minor is attractive in that there is still a great deal of uncertainty regarding its authorship. The original score no longer exists and it’s very being is the result of generations of transcriptions. This version, could be considered its latest and most contemporary transcription.
Marx’s conception of the end of history envisioned the realization of a class free social order. I would like to think that my approach to this material, which originated in the halls of royalty and ends in a randomized digital entanglement, is somehow reflective of this vision. A triumph of chaos over order?
To Be Continued, The Hogar Collection, Brooklyn, NY
Cyber Fest, The State Hermitage Museum, St. Petersburg, Russia , November
Solo Exhibit Hogar Collection, Brooklyn, NY
Solo Exhibit Rutgers/ MGSA Gallery, New Brunswick, NJ
The Next Fair, Merchandise Mart, Chicago, Il, May
Sneak Peak, The Hogar Collection, Brooklyn, NY. Dec-Jan
Williamsburg Window- Rupert Ravens Contemprary, Newark, NJ. Oct.-Jan.
Solo Exhibit, Jersey City Museum, Jersey City, NJ Oct.-Dec.
The Sonic Self, Chelsea Art Museum, New York, Jul.-Aug
The Bridge Art Fair, Catlalina Motel, Mial, Fl, Dec.