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List of works

Exhibition's map

1/ Raquel Friera, El brillo del arte (The Brilliance of Art, 2014). Based on the voices of the people who have been in charge of cleaning the Fundació Antoni Tàpies for the last few years, the piece points at the invisibility surrounding this type of work, and not only in the context of art. Friera also intervenes in the Fundació’s archive by incorporating the documentation generated by the work of the cleaners.

2/ Laia Estruch, / fu: d / (2014). The project consists of an agglomeration of vocal essays, based on the obsessive reading of an English book from 1919, of unknown title and author. The book is a long series of recommendations addressed to a British lady, advising her on how to cook and keep house. The piece is also presented as a performance.

3/ Susan Philipsz, You Are Not Alone (2009). For a shortwave radio broadcast, a transmitter installed in the gallery space receives a collection of tunes from radio stations around the world, in a transcription for vibraphone. Capturing them and making them resonate, the piece evokes the wide range of sounds continuously crossing the spaces we inhabit.

4/ EVOL, Opus 17a–FAT Interval (2014). The piece is an adaptation of Opus 17a, the first of four parts in Wunschkonzert by Hanne Darboven, conceived specifically for the stairs of the Fundació Antoni Tàpies. The programmer and artist Guy Birkin has collaborated with EVOL in the decodification of Darboven’s composing method.

Times: 12:15–14:25 and 16:45–18:55.

5/ Octavi Rumbau, Modelant (Modelling, 2014). Based on the purest of all sounds, a sinusoidal wave, the piece initiates a process of self-generation by modelling an increasingly complex and dynamic sound object. In slightly over two hours, and through a series of predefined algorithms, the computer decides which path to follow. The point of arrival, however, is always the same.

Times: 10:00–12:10 and 14:30–16:40.

6/ Brian Eno, The Ship (2014). The piece has been conceived as a song in three dimensions, inside which it is possible to move around. It has numerous speakers, devices that produce the majority of our musical experience. Each speaker is a kind of voice. Eno uses various models as if they were different voices in an opera, to each of which is assigned that part of the music that best fits its particularities. The song talks about the prospect of death. It is a piece about the speakers and death.

Technical Director: Peter Chilvers.

7/ Hanne Darboven, Wunschkonzert (Concert à la carte, 1984). Resulting from (quite obscure) mathematical operations based on the succession of days in a calendar, the lists of numerical representations are ordained in groups of six pages (poems) headed by a page that, containing a congratulations card (of the type given for a Christian confirmation), acts as the title. Each series of thirty-six poems constitutes an Opus, and the four Opuses – Opus 17a (presented here on the gallery walls), Opus 17b, Opus 18a and Opus 18b – constitute the whole piece. The title refers to a radio programme on Norddeutscher Rundfunk broadcast on Sunday a$ernoons in which listeners dedicated a musical number of their choice to someone they knew. The piece was translated by Hanne Darboven herself into musical notation, and will be played by Erica Wise, in a version for solo cello, on 14 and 21 January, at 5 pm.

8/ Terre Thaemlitz, Soulnessless (2008–12). The musical, audiovisual and textual piece Soulnessless, of which the exhibited video is part, puts forward a reflection on the spiritual, technological and work dimension of music. To refute the spiritual dimension of music brings to the fore two aspects that are usually hidden: technological mediation and the human work on which it is based.

Times: 13:10–14:30, 16:10–17:30 (Note, there is no final presentation on Wednesdays).

9/ Nicoline van Harskamp, English Forecast (2013). Originally conceived for BMW Tate Live: Performance Room at Tate Modern, the piece is based on interviews with people whose mother tongue is not English on the reality and future of the English language. At the end of each chapter the actors repeat certain words and phonemes inviting the viewer to repeat them aloud.

Times: 10:30–11:30, 12:00–13:00, 15:00–16:00.

10/ Ainara Elgoibar, Tribute (2012). The Take That Tribute Band plays twice a night, six days a week, in two nightclubs in an area of Benidorm frequented by the British. In each performance the same repertoire is repeated with The Flood by Take That always being the third song. The group’s fans attend faithfully every night, waiting and singing along.

Times: 10:10–10:25, 11:40–11:55, 14:40–14:55, 17:40–17:55 (Note, there is no final presentation on Wednesdays).

11/ Theo Burt, Tiling Sessions (2013). A series of algorithms try to form mosaics with tiles of colour and sound in previously determined areas, but the systematic order of these algorithms can only be understood within a limited time scale: if they progress too fast, the individual events go unnoticed; if they are too slow, they will have been forgotten by the time they repeat themselves.

Times: 18:00–18:40 (except Wednesdays).

12/ Interval Radio. Broadcasting live from the Fundació Antoni Tàpies every Wednesday at 5 pm for the duration of the exhibition, Interval Radio will include interventions by all the artists in the exhibition, a performance of Hanne Darboven’s Wunschkonzert, interpreted by Erica Wise, a performance of An Hour For Piano by Tom Johnson, interpreted by Lluïsa Espigolé, an intervention by Jaume Ferrete and a collective trance guided by Quim Pujol. The Fundació’s webpage will have a podcast of each programme available for listening and free downloading.