Disrupting the Dominant Song
Disrupting the Dominant Song
Curatorial Performance and Performance Essay
2018 & 2022
Performed at Casa de Lago, Mexico City. Published in Open Scriptures, Notation in Contemporary Artistic Practices in Europe and the Americas, by Susana González Aktories, Susanne Klengel.
Salomé Voegelin gave the conference keynote 'Disrupting the Dominant Song at the International Colloquium of Notation: Material Contemplation, Open Scriptures, Crossroads and Contemporary Practices in a Dialogue Between Latin America and Europe' in Mexico City at at Casa de Lago in 2018.
This curatorial performance text has since been published as a performance essay in Open Scriptures publication by Susana González Aktories and Susanne Klengel in 2022.
'Write a love letter
get a piece of pink paper
take a pencil
write softly, touching the paper lightly with the pencil's tip
try to make gentle stroking sounds.
March 21st 2017, 10:19pm
This text is a score that writes an essay from instructions that invite the unperformance of the dominant voice in the affirmative frame of plural participation. It is written in words, joined on the horizontal lines, with punctuation and grammar, but offering also a vertical depth and an in-between of material and linguistic sense, to listen to, to fall into, and to reperform in plural voices.'
'Open Scriptures. Notation in Contemporary Artistic Practices in Europe and the Americas', edited by Susana González Aktories, Susanne Klengel. Numerous artists and theorists since the early 20th century have approached notation with the idea of analysing the accompanying practices of writing, inscription and projection. Throughout this time, we have seen an unusual multiplication of the scope of notation based on new paradigms that contemplate not only a combination of semiotic systems, but also their expression in varying materialities.
The authors offer a wide range of perspectives that are being developed around what is understood today as notation, both from the practice and poetics of the artists themselves as well as from the theory and critical analysis of specific works. These approaches show the multiple forms of legibility and significance that make notation an open type of writing, capable of manifesting itself in new and unusual ways in different art forms.
The essays compiled here weave a multilateral and interdisciplinary dialogue between academics, creators and agents from Europe and Latin America that, while largely based on literature and music, go beyond disciplinary spheres, proposing ways to further explore the intermedial richness of notation.
International Colloquium of Notation
Co-organized by academics from the UNAM and the Free University of Berlin. Invited researchers, artists and interested public addressed both the theoretical and the practical the idea of notation, located in a liminal area between the word, the image and sound. During the colloquium notation will be problematized as a conceptual, communicative and material exercise, determined both by the language in which it is encoded, as well as by the supports and technologies that allow its registration and registration, as well as by the readability channels that it offers. Speakers included; Alexander Bruck, Bárbara Perea, Carsten Seiffarth, Verónica Gerber Bicecci, Tania Aedo, Irene Artigas Albarelli, Esteban King, Maru Mushtrieva, Susanne Klengel, Barbara Ventarola and many more.