My Avantgardist experiencie in the 70’s

Foto Alicia Sudafrica 2005On Sunday August 19th, 2012 it was the closing date of the Kinetic Arts Exhibition organized by the National Museum of Fine Arts during which many works that integrated the Lorenzutti Foundation collection were exhibited. This Foundation exhibited them in 1971 in the former Museum of Modern Fine Arts of Buenos Aires located on Corrientes Ave, today the Museum of Contemporary Fine Arts of Buenos Aires.

I attended the mentioned exhibition and, seeing the works realized by some of my dearest and admired artists and friends: Le Parc, Vidal, Brizzi, Polesello among others, that were exhibited in the National Museum of Fine Arts, I remembered October 1971 when the same artists and others such as Oresanz, Althabe, Gamarra, Luna Ercilla, Orlandi, Bedel, Lezama, Portillos, Coll, De Marco, Bangardini, Fioravanti and Davite exhibited their works (paintings, sculptures, kinetic art,) in two floors of the ex Municipal Theatre Gral. San Martín sponsored by the Lorenzutti Foundation: plastic arts and sculpture in the 8th floor and kinetic art on the 9th.

In 1971 the sensitivity of Buenos Aires was motivated towards the avantgardist art thanks to the important activity realized since 1958 by the Instituto Di Tella, followed by the creation of the Centre of Visual Arts, Centre of Audiovisual Research and the famous Latin American Centre of High Musical Studies, all important artistic facts for our country which, in 1970 were fiercely resisted by the dictatorship under Juan Carlos Onganía’s government.

Coming back to my story about the Lorenzutti Foundation exhibition in the Museum of Fine Arts in 1971, I met Roberto del Villano, a plastic artist linked to the Museum directed by Hugo Parpagnoli, and I proposed him to make a music and dance show.
He accepted and I told him that I needed to meet the artists in their own workshops, talk with them, propose them my point of view about my musical creation in my inner self for each one of their artworks, because I wanted to find the exact sound that each artwork suggested.

So I worked every day of a whole month. After talking with each one of the artists exhibited in the Lorenzutti Colletion, I created the music which was realized taking out fragments of instrumental and orchestral works of my own, one fragment of one work of Bach, recorded concrete sounds,created electronic sounds and, when the one-hour musical work was finished, I recorded a magnetic tape, had it listened by the artists and proposed the prestigious Argentine dancer Susana Zimmerman to accompany me in that fascinating and unique adventure by creating the choreography and dancing herself the work. I told her to focus her attention on the music that corresponded to each sculpture and create – almost improvise – the choreography to join the plastic artworks, my music and her dance which I named MUSIDANZA VISION. She was delighted and accepted the challenge.

MUSIDANZA VISION was presented in the Museum of Modern Fine Arts on November 10th, 11th and 12th in the “Week of Buenos Aires”. The exhibition was closed on the day after of our last presentation.
The main idea was to link the new expressions of visual arts with dance and music, as a bridge of expressive communications that enrich the contemplation of the artworks by the attendants and, at the same time, widen the horizons of comprehension of them.

During the show, the audience must follow the dancer who performed her movements before – and sometimes – within the artworks, joining her art in movement together with my music and each one of the artworks. The audience walked near the dancer to participate in the tour.

Susana danced the artworks following my music, slipped withing the sculptures in the 8th floor, and when the first movement was over, went hastily upstairs to the 9th floor followed by the big audience who also made this way not to miss this – in a way – different and strange show to their sensitivity. While passing from the 8th to the 9th floor I included in the tape the sound of a police siren. That caused commotion in the security personnel of the Theatre and in the audience who thought something grave had happened.

Ah, I forgot to tell you that there was also an experience with laser rays on the screen of the 9th floor and my sounds made the laser ray dance… an experience extraordinary for me!

Pompeyo Camps, composer and music critic of La Opinion newspaper pointed out the reaction of the police, their shouts and runs pushing the audience that followed the dancer but did not understand the presence of the police. He said: “The police as well participated in Terzian’s unusual proposal…” La Prensa, Clarin and La Nacion newspapers also published excellent reviews of the show.

When the exhibition was closed my proposal was also finished because the two floors were soon emptied. This fact made me propose photographer Luis Suvervil to make 700 slides including all the works exhibited. Later on, 320 selected slides, my music and the poems written by Guillermo Whitelow who joined my new project, the “SINFONIA VISUAL EN DOS MOVIMIENTOS” (Visual symphony in two movements) was born….

I presented this work in the Ices Festival 72 organized in London by the American composer Harvey Matusow and the English composer Ana Lockwood. It achieved a great success of audience. It was a Festival with a great number of avantgardist events with the participation of 40 instrumental ensembles and 300 composers coming from all over the world. The concerts took place at The Roundhouse and The Place in London.

In the same year 1972 I presented a new version of the “SINFONIA VISUAL EN DOS MOVIMIENTOS” in the 4th Festival of Contemporary Music of Encuentros in the same Museum of Modern Fine Arts of Buenos Aires where the original version was premiered one year earlier together with the exhibition and dance.

In 1972 I travelled with my daughter through South America from Mexico to Brazil presenting the “SINFONIA VISUAL EN DOS MOVIMIENTOS” with great success and with the attendance of outstanding composers from each one the countries I visited: Mexico, Venezuela, Colombia, Brazil…. In the winter of 1974 I presented my work in a wide tour in Europe, receiving the applause of audiences and critics.

I wanted to tell my 70’s experience, joining the music and live dance with the plastic and kinetc arts because it seems that the memory of the importance of what many Argentine creatives have done is fragil…. I think it important to remind it.

The most important musical critics of Argentine newspapers, all professional composers and specialized journalists on the subject, referred to this experience with much praise.

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