CONTENTS
2020 – 2022
text score collection
music theater/concert for three performers, video, laptops, various microphones, instruments and objects + clandestine libretto
performance:
11.09.2021, Kunstraum Walcheturm, Zürich
performers:
Benjamin Jaton, Killian Perret-Gentil, Raphaël Belfiore
production:
IGNM Zürich
embedded works from:
Peter Ablinger / Vito Acconci / G. Douglas Barrett / Robert Bozzi / George Brecht / John Cage / Budhaditya Chattopadhyay / Nicolas Collins / Bernhard Garnicnig / Scott Fitzgerald / Takehisa Kosugi / Christine Kozlov / Johannes Kreidler / Isaac Linder / Filippo Tommaso Marinetti / Richard Maxfield / Igal Nassima / Bruce Nauman / Non-Cochlear Posting / Tobias Reber / Terry Riley / Sean Smith / The Institute Of ACES / Michael Trommer / Ben Vautier / Michael Winter
libretto (pdf)
Postproductions is a performance conceived as both a concert and a proper musical work. Following the instructions of a "composer-curator", three participants present exclusively pieces borrowed from other composers, visual artists or authors. The works mobilized for the occasion share two characteristics: they are all text-based and involve at some level the use, or rather the misuse, of techniques and technologies of conservation, transmission and reproduction of sound. This triad of terms, synonymous with documentation or more generally with the mediation of perceptual experiences, is also the basis of the organization of the work. Verbal scores exist as part of the situation in three distinct forms: as such, i.e. as descriptive and or prescriptive text of a sequence of actions, as the actual, integral and valid actualization of them and, finally, as documentation of their earlier occurrences.
The performance is accompanied by a "libretto" including a presentation essay, the totality of the verbal scores played, projected or documented as well as a system of cross-references having function of "meta-partition" –verbal too– in which the public can find all the decisions of the "composer-curator" as for the implementation of the pieces and their origin. The listener has therefore, in addition to a diachronic implementation of the works, a synoptic support giving him total access to the contents of the concert.
The performance is accompanied by a "libretto" including a presentation essay, the totality of the verbal scores played, projected or documented as well as a system of cross-references having function of "meta-partition" –verbal too– in which the public can find all the decisions of the "composer-curator" as for the implementation of the pieces and their origin. The listener has therefore, in addition to a diachronic implementation of the works, a synoptic support giving him total access to the contents of the concert.