Moją specjalnością były filmy o miłości, o macierzyństwie, śmierci, martyrologii czy funeralnym świecie, ilustrowane muzyką konkretną. Ja zilustruję w moim warsztacie dowolny film na dowolny temat. Chciałem wygenerować czy wynaleźć, wymyślić dźwięki, których cechą jest to, że dotąd nigdy nie zaistniały, nie dają żadnych skojarzeń, bo jak ktoś bierze muzykę instrumentalną, to natychmiast słuchacz widzi…
Eugeniusz Rudnik—a lifelong sound engineer of the Polish Radio Experimental Studio—speaks about the early years of Polish electroacoustic music, about his distrust of both musical scores and the deceptive idea of musical and artistic progress, and about the fine line between sound engineer and composer.
This text was originally published under the theme “Polish Radio Experimental Studio: A Close Look”. The theme was developed in partnership with Muzeum Sztuki, Łódź (MSŁ). It was edited by Magdalena Moskalewicz, MoMA with Daniel Muzyczuk, MSŁ. The original content items in this theme can be found here. Depending on the type of recording, the whole apparatus changes like a…
Just as alchemists in the Middle Ages were the masters of arcane knowledge, so the core members of the Studio—the sound engineers—were masters of new technology in music.
The Polish Radio Experimental Studio (PRES), established in Warsaw in 1957 under the auspices of Poland’s official state broadcaster, provides a fascinating insight into the importance of a site as a key catalyst for avant-garde exploration and production.
Inhabiting a space between studios that were dedicated solely to the production of autonomous works, Polish Radio Experimental Studio (PRES) occupied an interesting position that enabled it to adopt a slightly unusual modus operandi.
How did the infrastructure of the former Soviet Bloc’s socialist states support experiments in the art of sound? What possibilities were created and what were the drawbacks that resulted, for artists and their art, from the desire to create an entirely new, experimental society? This talk was delivered at “About Sound,” a C-MAP seminar on…
Initiated in the late 1950s in Zagreb, in the former Yugoslavia, and dissolved less than a decade later, the Gorgona Group continues to fascinate. Since the group’s first exhibition in 1977, generations of artists and art historians from Eastern Europe have viewed its ephemeral, collective artistic practices as the foundation for the later development of…
Iako raspuštena vec desetljeće nakon svog osnivanja u kasnim 50-im godinama 20. stolječa u bivšoj Jugoslaviji, grupa Gorgona još uvijek fascinira. Od njihove prve izložbe 1977. godine, generacije umjetnika i povjesničara umjetnosti iz Istočne Europe smatrali su da je kratkotrajno umjetničko djelovanje ove grupe temelj kasnijeg razvoja konceptualizma koji je u šezdesetim godinama cvjetao u…
A few remarks about MoMA’s research project “Contemporary and Modern Art Perspectives in a Global Age.” Mieke Bal delivered this text as a response during the yearly C-MAP seminar that took place at The Museum of Modern Art in April 2013. Entitled “Global Networks,” this two-day long meeting of members of the three geographically oriented C-MAP…
Geta Brătescu, whose career began in the 1960s and continues until today, is a pivotal figure in the history of post-war Romanian art. Working under the repressive political regime of Nicolae Ceauşescu for a large part of her career, Brătescu, developed a body of work that reflects the conditions of its production. Largely (though not…
Speaking with Christophe Cherix, The Abby Aldrich Rockefeller Chief Curator of Prints and Illustrated Books, Geta Brătescu shares her understanding of drawing and speaks of the importance of personal space for her creative practice, offering an insight into her technique. She discusses her fascination with Charlie Chaplin, which led to the creation of her best-known…
