Articles with tag:


(2 results)

Neuhaus’ Time

Devoted to the work of Max Neuhaus (1939-2009), Max Feed. Œuvre et héritage de Max Neuhaus at Frac Franche-Comté, Besançon, the first retrospective since the death of this major figure, brought together an important documentation as well as the only non-site specific of his sound works. As a way of looking for Max and make his thinking resonates, works from today’s artists have been cautiously selected by the curator Daniele Balit, working for years on Neuhaus work and  preparing (together with Mathieu Saladin) an edition of collected writings and interviews*.   The work of Max Neuhaus largely deserves a new examination, not only for its intrinsic quality, but also as a way to measure some changes in the appreciation of sounds in the art world (from field recordings to narrative sound editing, to music as a topic). Sound artists, one they accept such a name or label, usually find a legitimacy through their previous or parallel activity in the music scene. Any sound recorded by a famous artist receives more recognition than an ambitious sound installation from a historical figure. We, the public of art, have usually not so much time to listen carefully and what is usually...

Cheever Meets Modugno

Years ago I heard a famous Modugno song for the first time. It was called Marito in Città and it first came out in 45rpm in 1958, though it had already circulated the year before. The story is a topos of the 1950s: a husband drops his wife and kids off at their long-vacation destination and then returns to enjoy city life unencumbered, with the excuse of a job to do.     I must confess that the song stuck in my mind for months and still today I appreciate its unusual skillfulness. It was a particularly successful example of a gift Modugno in particular had for evoking a certain quality in the men of his day without any reticence or rhetoric. In the case of this song, the protagonist’s singular charm is quintessentially masculine and Italian. The man proclaims himself to be rich, a good catch for a woman, a tombeur de femmes, only to be betrayed by his excruciating clumsiness, which puts paid to his dreams of adultery. The music is especially congenial, adding a flavor of farcical sympathy to the story. The irresistibly Italian tune hit the charts, and radios blasted the song provocatively in apartments throughout Italy.   Foreign tourists must have been equally struck by...