Viewing entries by
Xenia Hanusiak

Marina Abramović's <br><i>Goldberg</i> & Anri<br>Sala's<i> Ravel Ravel</i>

Marina Abramović's
Goldberg & Anri
Sala's Ravel Ravel

Review by Xenia Hanusiak

The responsibility for guiding audiences in the act of listening to classical music has historically rested on the shoulders of composers. In the United States, Aaron Copland, Virgil Thompson, and John Cage each brought a prolific pen to the discussion. In Europe, Pierre Boulez and more recently Heiner Goebbels have both asked us to reconsider the relationship between music and the audience. The baton of inquiry is now passing to contemporary visual artists. Two recent shows in New York have questioned the assumptions on which the act of listening seems to be founded. . .

Laurie Anderson's <br><i>Habeas Corpus</i>

Laurie Anderson's
Habeas Corpus

Review by Xenia Hanusiak

. . . It is only later, when you leave the room, that the weight of Mr. Gharani’s story drops and the orchestration of the recitative begins to unbalance your first perceptions. Mr. Gharani’s voice uneasily revealed that he was so badly abused he tried to commit suicide twice. An interrogator stubbed out a cigarette on his arm. He was kept in freezing conditions, sleep-deprived, and with alternating experiences of unpredictably blasted music and flashing strobe lights. The violin’s beautiful shudders, the potent guitar drones, and the flippancy of the American hoedown were the re-imaginings of this horrific incarceration. It was the soundscape of Mr. Gharani’s heart, of the existence he was forced to endure. In the clear hindsight of daylight, the experience is more sinister than I realized at the time. It was we who were being interrogated . . .