“The way of Boulez is to take two weeks (for example) and think about one or
two notes of the viola part in a large score, to make sure they are exactly the
notes he wanted (where and how placed in the score) down to the last detail of
how it is to be played.’’ says Bruno Maderna in conversation with Rocco Di
Pietro. “If this is true, it is amazing how prolific he has been. Perhaps
the confusion has something to do with artists like Picasso or Stockhausen, who
so rapidly create such an enormous quantity of new and varied work. That
approach perpetuates the myth that the artist must be a producer of constantly
new and dazzling works and that anything less is indicative of creative
decline” -reflects Rocco di Pietro.
Dialogues with Boulez / Rocco Di Pietro, The Scarecrow Press, Inc.
Lanham, Maryland, and London 2001, p.2
Paintings by Su Ai from collection of study for Victoria Amazonica, 2019
So, we started.
The exploration of the nature of free creativity is the main subject of our
MOVE Lab meetings. In this unique dance of presence and self-observation we
move and we listen. Between tone and tone, between one picture and another,
between one sensation and another, between one plane of consciousness and
another, there is an activity. There is a constant, uninterrupted movement.
Is this something that can be consciously experienced?
Paintings: Grey Scale I-IV, Su Ai 2019
We’ve just finished our 10-weeks intensive research focused on movement-based forms. In a small team we were working basically on our experiential understanding of transformative powers of sound and movement. We were looking for connections between different approaches, perspectives, and planes.
From this work and out of our will to continue this research first Lab emerged. It will offer experimental MOVE workshops for the enquiry of movement-based forms of art.
pictures by Su Ai, 2019