Ari Benjamin Meyers: Tacet, OGR
Photo: Courtesy of the artist, © Corraini Edizioni
November 02, 2019, 6 p.m.
The Schering Stiftung will show the work “Solo for Ayumi” by artist and composer Ari Benjamin Meyers in its Project Room on January 18 and 19, 2020. Supported by Schering Stiftung, Ari Benjamin Meyers’ first artist’s book “Tacet in Concert” (Corraini Edizioni), will be presented at Artissima Turin on November 2, 2019 in the presence of the artist.
“Tacet in Concert” is conceived as the final chapter of a three-part project, and completes the journey begun with his two solo exhibitions: “Tacet” and “In Concert”. Very different in content and presentation, the two shows were held almost consecutively during 2019, the first at Kasseler Kunstverein and the other at OGR Turin.
In “Tacet” a series of recent works by the artist were exhibited – such as scores, objects, and ephemera -, and for the entire duration of the exhibition a single performer called “the archivist” recorded his own reflections and those of the visitors, interacting with the public according to Meyers’ indications and re-enacting some of the performances. As the title suggests, and quite unusually for Ari Benjamin Meyers, the exhibition took place mostly in silence.
During the six weeks of “In Concert”, a group of eight performers, within a specially designed scenography, followed a meta-composition by Meyers, wherein seven of his performance works were intertwined with each other. They appeared throughout the exhibition in various configurations and reinterpretations, constantly evolving over the course of the show.
The book is born from the documentation of these two exhibitions, each conceived in a very different way. “Tacet” is told through a long essay written in the form of a diary by Jörn Schafaff – the archivist – and it may well be the first report of an exhibition made by an (embedded) art theorist who witnessed directly every moment the show was open. In Concert, on the other hand, is fleetingly told through Andrea Rossetti’s photographs, taken at OGR over three days. The volume is enriched by essays by Nicola Ricciardi, by the curators Judith Waldmann and Valentina Lacinio, and by the neuroscientist and managing director of Schering Stiftung Katja Naie. The book also contains a commented catalog of Meyers’ works created between 2013 and 2019, many of which were exhibited as part of Tacet and In Concert.
Ari Benjamin Meyers was born in 1972 in New York. He lives and works in Berlin.
Ari Benjamin Meyers’ work explores structures and processes that redefine the performative, social, and ephemeral nature of music. His compositions and performances seek to challenge the relationship between performer and audience.
Trained as a composer and conductor at The Juilliard School, Yale University, and The Peabody Institute at Johns Hopkins University, Meyers became more widely known in the context of the visual and performative arts in 2007 as musical director and conductor of the group exhibition Il Tempo del Postino (Manchester International Festival, 2007, and Art Basel, 2009).
Selected projects and solo exhibitions include: Kunsthalle for Music, Witte de With, Rotterdam (2018); Changing of the Guard, Schauspielhaus Bochum (2018); Symphony 80 (with the Bavarian Radio Symphony Orchestra), Lenbachhaus, Munich (2017), An exposition, not an exhibition, Spring Workshop, Hong Kong (2017), Who’s Afraid of Sol La Ti? (Invention I), Hamburger Bahnhof, Berlin (2016), Symphony X (Installation Version), KW Institute for Contemporary Art, Berlin (2015), Untitled for Choir (Beating Time), Martin-Gropius-Bau, Berlin (2015), New Initiative for Europe, Akademie der Künste, Berlin (2014), Chamber Music (Vestibule), Berlinische Galerie, Berlin (2013-2014).
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