Andante Magazine February 2012

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İLETİŞİM / CONTACT
Ferit Tüzün'ün eserlerinin hakları artık DOB'da
ARTER's First Sound Art Project Opens with Erdem Helvacıoğlu's 'Freedom to the
Black'
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Ad, Soyad
ARTER’s First Sound Art Project Opens with Erdem
E -Posta
Helvacıoğlu’s “Freedom to the Black”
KAYDET
9-26 February 2012
In 1970, a group of New York avant-garde artists called Fluxus,
organized a public performance that involved an unusual way to play
KONSER - OPERA - BALE - DANS
a piano. Fluxus’ founder, George Maciunas, invited French
ELEŞTİRİLERİ
performance artist Ben Vautier to perform Maciunas’ “Piano Piece”
Avrupa’yı sarsan Genç Werther bale
which required nailing down all the white keys of an upright piano, one by one, thus leaving only the black
sahnesinde
keys to function.
İDOB’dan Göz Alıcı Bir Prömiyer:
Genç Werther’in Acıları
This performance was one of several the group did in seven European cities, in which they asked people to
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“play” the piano, that is, by rubbing objects on the strings, scratching it, striking the soundboard and pins, in
Ankara'da ezber bozan bir
addition to pounding nails into it, effectively destroying the instrument. This was considered scandalous in
Tannhäuser
Germany; however, the public’s fascination evidently was so great that these concerts appeared on German
television four times and became integral to the legacy of Fluxus. The experimental rock band, Sonic Youth,
KAYIT - KİTAP ELEŞTİRİLERİ
Borusan'dan yine çekici bir tema ve
düzeyli icra
video-taped their own performance in 1999 of one of Maciunas’ pieces requiring key-nailing on an upright
piano, and posted it on YouTube in 2006.
The Vehbi Koç Foundation owns the original piano used by Vautier in 1970. So the Foundation’s Culture
Beethoven Senfoniler No. 1-9
and Arts Advisor Melih Fereli (acting also as curator in this case) commissioned composer Erdem
Experience: Live from New York
Helvacıoğlu to create a piece, taking inspiration from Maciunas, and using that piano, for Koç’s ARTER
contemporary gallery exhibition in Beyoğlu this month. The title “Freedom to the Black” emerged from the
obvious elimination of all the white keys, but also as “an attempt to liberate the ‘the black’ from all biases
and prejudices” according to Fereli.
YAKLAŞAN ETKİNLİKLER
YUSUF İLE ZÜLEYHA
Although black is the overwhelmingly popular fashion color of choice in these times, black has long been
MİDAS'IN KULAKLARI
associated in Western culture with death, fear, and mourning, as well as direct references to racism and
SİHİRLİ DÜNYA
political prejudice. “To many, black represents the primordial void,” states Fereli in his written introduction to
the ARTER brochure package for the exhibit. “Other examples of negative attributes are ‘Black sheep,’
‘Blackmail,’ ‘Blackball,’ and so on. I have simply assumed that Maciunas was intent on leaving more room
for imagining deeper meanings beneath nailing down the ‘white’ keys and the freedom of movement granted
to the ‘black’ keys of the piano.”
MÜZİĞE DOKUNMAK
SESLERLE ANADOLU
MİDAS'IN KULAKLARI
MACBETH
For Helvacıoğlu, it’s “a search for different timbres” within the piano, he reveals, especially the highlighting of
the pentatonic scale that is the result of being limited to only the black keys. “The piano has 35 black keys,”
he said, “and when you have only those basic five notes to work with, well, that was very interesting for me.
The first challenge was to totally mute the other strings that surround them -- in many cases, even silence
the two sympathetic strings aside the center string of a single note. For that purpose, and to extract a wide
OTELLO
BİFO & BRANDFORD
MARSALIS
HAREM
range of sounds from within the piano, I used pieces of silk and wool, earplugs, stuffed toys, scissors, bows,
drum sticks, mallets, hammers, and screwdrivers. We set up 17 microphones inside, outside, under, over,
everywhere, to record. To tell you the truth, this was the most physically difficult project I’ve ever done. For
four days, I lived inside this instrument, even under it. Because I was so close to the mics, of course I
couldn’t breathe. The engineers only saw my legs. I might have been dead, for all they knew.”
The installation is mounted within a 5-meter-square room on ARTER’s ground floor. Maciunas’ piano is
placed on a ramp, surrounded by 16 speakers using a unique Ambisonic B-format, developed by Dr. Tony
Myatt at the Music Research Center of the University of York. This new spatial design system envelops the
listener with full spherical effect. Helvacıoğlu’s semi-improvised composition plays for 10 minutes, starting
with random scratches and taps, crescendoing slowly into a sonic beehive of activity.
ANDANTENİN SEÇİMLERİ
“Freedom to the Black” commences a series of sound art projects that will be produced each year and will
always involve a composer or sound artist. This one, “although it is inspired by and structured around an
KONSER
early seminal Fluxus piece.” Fereli explains, “is not another Fluxus project. It’s not avant-garde for the sake
of being avant-garde. We couldn’t have kicked it off with a better artist. Helvacıoğlu’s music, and in
particular his composition as part of this installation, teases the source. You can think of it as a universe;
ANKET
anket arşivi
each note has its own journey and randomness, but still there’s form and personal expression. [It is] filled
with the riches the black deserves.”
Ankara'da ezber bozan bir
Tannhäuser
Alexander Ivanoff
OPERA
“Freedom to the Black” | “Siyaha Özgürlük”
10 -26 February 2012
Tues-Thurs 11:00-19:00
Samsun'da 'Opera' rüzgârı,
Karadeniz sahilinde