Graffiti Composition
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Track listing
- 1 Graffiti Composition 1 3:00
- 2 Graffiti Composition 2 7:02
- 3 Graffiti Composition 3 5:35
- 4 Graffiti Composition 4 9:35
- 5 Graffiti Composition 5 6:41
- 6 Graffiti Composition 6 8:55
- Total length: 40:48
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2 Issues
- Release view [combined information for all issues]
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Graffiti Composition [p] Live
-
Graffiti Composition Digital file, Streaming
1 Review
1. Christian Marclay pastes manuscript paper all over Berlin.
2. Unknown people write on it, draw on it, scratch it, tear it, ignore it.
3. Marclay takes pictures of the newly tagged manuscript, exhibits the photos.
4. Later, he shows the photos to a bunch of musicians (Lee Ranaldo and Elliott Sharp among them), has them interpret what they see, records the result (this is it).
5. I think about how this might take Cardew's Treatise a step further, since it requires not only performers to interpret unexplained notation, but also writers to interpret unexplained manuscript paper, and wonder, given that Cardew was a communist, what this might make Marclay (a dictatorial anarchist?) and further wonder if I'll ever actually listen to it, but know that I'll defend it against any and all detractors because the idea is too good for the music to matter (a bad performance can spoil the classical work which still survives in manuscript, but here even if the manuscript is bad the concept behind it remains) and because I like new forms of group improvisation.
2. Unknown people write on it, draw on it, scratch it, tear it, ignore it.
3. Marclay takes pictures of the newly tagged manuscript, exhibits the photos.
4. Later, he shows the photos to a bunch of musicians (Lee Ranaldo and Elliott Sharp among them), has them interpret what they see, records the result (this is it).
5. I think about how this might take Cardew's Treatise a step further, since it requires not only performers to interpret unexplained notation, but also writers to interpret unexplained manuscript paper, and wonder, given that Cardew was a communist, what this might make Marclay (a dictatorial anarchist?) and further wonder if I'll ever actually listen to it, but know that I'll defend it against any and all detractors because the idea is too good for the music to matter (a bad performance can spoil the classical work which still survives in manuscript, but here even if the manuscript is bad the concept behind it remains) and because I like new forms of group improvisation.
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