Daniel Gianfranceschi

Under the title Echoes As Embodied Sound / Getting To Where You Are, Camilla Metelka and Daniel Gianfranceschi present two sound-based works, expanded through cinematic and movement-based elements—performed simultaneously and asynchronously.

The piece employs experimental improvisational techniques and entropic psychoacoustic developments, in which each part is treated equally, creating an open space for unpredictable actions.

Camilla Metelka’s performative concert Echoes As Embodied Sound unfolds as a multilayered exploration of time, space, and perception. Through concurrently evolving acts, the performance engages with both an environment in which time itself becomes perceptible—as evoked in her spoken poem Time As Scape—and the material conditions of the surrounding architecture. The experimental film, also titled Echoes As Embodied Sound, enters into dialogue with the museum’s spatial structures, including Walter De Maria’s Large Red Sphere. In parallel, a site-specific choreography emerges in direct response to the physical structure of the stage, generating sonic and kinetic gestures. The echo as a spatial impulse becomes the concept for a stage experiment.

Daniel Gianfranceschi’s offering played simultaneously, engages in an improvisational, guitar-based drone crescendo. Building the piece like a sculpture – through the use of an infinite sustainer and various effect pedals – the composition is crafted life, favouring the spontaneous over the rational. Informed by a reduced compositional approach and read under the scope of Saussure’s notion of the “sound picture” – images that suggest an impression of sound – the piece also serves as a sonic transmutation of La Monte Young’s directive of “drawing a straight line and following it”, where open chords become synonymous with segments of infinite possibilities. Music at large – which rarely becomes and, mostly, is – is a self-evident, tautological concept, creating the impression that all its parts are always “in order”. But what happens when this isn’t the case?

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Massimo, S. (2023). The Performative Power of Architecture. Anna Halprin’s Dance Deck as the Source of her ‘Transformational Dance’.

Itinera, (25)

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Bonnet, François J.: The Music To Come, Shelter Press, 2021

Grimshaw, Jeremy Neal: Draw a straight line and follow it. The music and mysticism of La Monte Young, Oxford University Press, 2012

Cage, John: Silence. Lectures & Writings, Marion Boyars Publishers, 1994

Sadowski, Thorsten: David Tudor. Teasing Chaos, Kehrer Verlag, 2021