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77-82 Whitechapel High Street, E1 7QX, London, United Kingdom
Open: Tue-Sun 11am-6pm, Thur 11am-9pm


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Sense Sound/Sound Sense. Fluxus Music, Scores & Records in the Luigi Bonotto Collection

Whitechapel Gallery, London


Artworks

Emmett Williams, Sense Sound, (1955) 1989

Silkscreen on cloth

1620.0 × 1400.0 mm

Published by Francesco Conz, Verona. Courtesy of Fondazione Bonotto & Ann Noël. Copyright © Emmett Williams. All Rights Reserved.

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George Maciunas, In Memoriam to Adriano Olivetti, 1962

Performed by George Maciunas and other Fluxus artists at “Festum Fluxorum”, Dusseldorf, 1963

Courtesy of Fondazione Bonotto

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Claes Oldenburg, Miniature Soft Drum Set, (1967) 1969

380.0 × 510.0 × 300.0 mm

Edition published by Multiple Inc. N.Y. Courtesy of Fondazione Bonotto

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Jackson Mac Low, A Vocabulary for Sharon Belle Mattlin, 1975

Silkscreen on cloth

1420.0 × 1010.0 mm

Published by Francesco Conz, Verona 1988. Courtesy of Fondazione Bonotto

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George Brecht, Incidental Music, 1961

Performance by B. Vautier, G. Hendricks, Al Hensen and K. Friedman at “Milano Poesia”, Ansaldo Milan, 1989

Photo: F. Garghetti. Courtesy of Fondazione Bonotto

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George Brecht, Incidental Music, 1961

Score card version, black offset on white card

120.0 × 155.0 mm

Included in “Water Yam”, Fluxus Editions, 1963. Courtesy of Fondazione Bonotto

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John Cage, Charlotte Moorman and Nam June Paik, “26’1 1499” for a String Player (1955), Human Cello (1965), 1990

B/w photo at Café au Go Go, New York, 1965 by P. Moore, edited by Pari & Dispari Editori, Cavriago, 1989-90

Courtesy of Fondazione Bonotto

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Walter Marchetti, Piccola musica notturna, 2002

White candles in a violin case

180.0 × 190.0 × 360.0 mm

Courtesy of Fondazione Bonotto

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Dick Higgins, Symphony 245 (Maestoso), 1981

From The Thousand Symphonies, 1968. Mixed media on music paper

445.0 × 575.0 mm

Courtesy of Fondazione Bonotto

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Henry Flynt, Down with art!, 1968

Artist’s book, published by Fluxpress, New York

105.0 × 275.0 mm

Courtesy of Foundazione Bonotto

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John Cage, Solo for Voice 2, 1960

Performed by Dick Higgins and Alison Knowles during the “Parallele Aufführungen Neuester Musik” at Kunsthandel Monet, Amsterdam, 1962. Photo: Hans De Boer

240.0 × 150.0 mm

Courtesy of Fondazione Bonotto

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Joseph Beuys, Jajajajaja,Neeneeneeneenee, (1968) 1970

12” vinyl record

published by Gabriele Mazzotta Editore, Milan

Courtesy of Fondazione Bonotto

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Installation Views

Installation image for Sense Sound/Sound Sense. Fluxus Music, Scores & Records in the Luigi Bonotto Collection, at Whitechapel Gallery Installation image for Sense Sound/Sound Sense. Fluxus Music, Scores & Records in the Luigi Bonotto Collection, at Whitechapel Gallery Installation image for Sense Sound/Sound Sense. Fluxus Music, Scores & Records in the Luigi Bonotto Collection, at Whitechapel Gallery Installation image for Sense Sound/Sound Sense. Fluxus Music, Scores & Records in the Luigi Bonotto Collection, at Whitechapel Gallery Installation image for Sense Sound/Sound Sense. Fluxus Music, Scores & Records in the Luigi Bonotto Collection, at Whitechapel Gallery

How should we use a grand piano in order to produce sound? By opening the piano and stacking wooden blocks inside the instrument until one falls and creates a noise, or by dropping dried beans onto the keys? Conceptual fluxus artist George Brecht (1926–2008), in one of his iconic works Incidental Music, instructed fellow artists to demonstrate how several people at once could interact with the piano.

The Fluxus movement emerged in the 1960s as an international network of artists, musicians and performers who staged experimental happenings using everyday materials. They shared an attitude to creativity that was anti-academic, quotidian and open to all.

Including works by John Cage, Philip Corner, Dick Higgins, Alison Knowles, George Maciunas, Claes Oldenburg and Yoko Ono Sense Sound/Sound Sense investigates Fluxus artists’ interest in music and sound through performance, scores, records and objects from the Luigi Bonotto Collection. Fluxus artists assigned importance to musical production, presenting public events as concerts that challenged conventional form and content in music. Their approach to music scores was equally radical. Breaking free from traditional sheet music, they devised notational systems based on graphics, poetry and the visual arts.

Sense Sound/Sound Sense was produced and first shown at Fondazione Musica per Roma, Auditorium – Parco della Musica Roma

This is the first UK display of the Luigi Bonotto collection, the largest collection of UK documents in Italy.

Sense Sound/Sound Sense. Fluxus Music, Scores & Records in the Luigi Bonotto Collection at Whitechapel Gallery, 2019. Installation view. Courtesy Whitechapel Gallery

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