Metropolis Ensemble artists performing on Opening Day (March 7, 2012, 2pm and 3:30pm, at Pier 94) at The Armory Show this week, presenting the U.S. premiere of Icelandic artist Örn Alexander Ámundason’sKreppa. The work is a “symphonic poem” that explores the question: “what does a financial collapse sound like?” Ámundason, who has explored what happens when politics are transformed into music, has identified thirteen main protagonists, given each of them an instrument and transformed their voices into a music score. [caption id=“attachment_840” align=“alignright” width=“250” caption=“Örn Alexander Ámundason”][/caption]The Armory Show is the cornerstone of the art community in New York City, an adventurous contemporary art fair with an international roster of galleries, performances, and programs. This year’s event features a focus on the vibrant art of the Nordic Countries, including a conversation with the artist Björk and select galleries from Denmark, Norway, Sweden, Finland and Iceland. Get directions to the show… Ámundason was born in Reykjavík, Iceland in 1984, and has explored what happens when politics are transformed into music. Some of his works refer to a tense social or political context but even more importantly to the probably irresolvable difficulties of ‘true’ translation. He’s had exhibitions at the Göteborgs International Biennial for Contemporary Art in Sweden, Brandenburgischen Kunstverein in Germany, Sudsudvestur in Iceland, and Galleri F-15 in Norway. Kreppa marks his first commission for orchestra. Ámundason explains the work:
In October 2008 a financial crisis hit Iceland. Three of the major banks went bankrupt and the Icelandic crown lost about half its value. The story of the crisis can be traced back to 1984 when the government issued a fishing quota system, through the privatization of the three major banks in 2000 and finally to the recent financial crash in 2008. It’s a story of greed, revenge, arrogance and poor political decisions. In Kreppa, I transpose words and speeches from politicians, investors, protesters, banks & the media, all involved with the financial crisis into musical notes. I collected material from various medias, radio interviews with politicians, TV shows about the Icelandic investors and so forth. Having no experience of writing musical notes I used a computer program that altered the voices of these people into musical transcripts. Investors are transformed into woodwinds, which have cultural references to the snake charmer that hypnotizes cobras often using a wind instrument, as well as the Pied Piper of Hamelin who lured 130 boys and girls from their hometown. The politicians’ voices became string instruments, a reference to Nero, who is said to have played the fiddle while he watched Rome burn to the ground. Banks and press became brass music, which has a specific role in history, as the world’s first adverts were simply people yelling announcements through a speaking trumpet. Protesters become percussion, which were likely the first musical devices ever created and are often referred to as “the backbone” or “the heartbeat” of a musical ensemble.
Metropolis has a great lineup of musicians appearing in the concert: Double Bass: Doug Balliett Cello: Brook Speltz Viola: Wei-Yang Andy Lin Violin: Emily Smith Ukulele: Matthew Slotkin Clarinet: Carlos Cordeiro Flute: Lance Suzuki Flute: Steven Kim Recorder: Priscilla Smith French Horn: Wei-Ping Chou Tuba: Ibanda Ruhumbika Trombone: Steve Dunn Marimba: Britton Matthews Conductor: Andrew Cyr
Kreppa
is generously sponsored by Stund styrktarsjóður and the Icelandic Art Center. Metropolis Ensemble’s performance is generously sponsored by Robert Bielecki and Fast Orbit.
