The ensemble “a200ms” wants to present its interdisciplinary work to interested people. a200ms” understands its work as interdisciplinary and without hierarchy.
Painters are part of an ensemble rehearsal. Musicians experience themselves as part of the individual process in a painter’s studio. A prerequisite for truly equal and truly interdisciplinary work. Collaboration instead of cooperation. The abstract visual reference as a method.
An adaptation of Earle Brown’s notation form offers the chance to establish sound as a component of visual art. Our findings and experiences should encourage other artists to create truly interdisciplinary musical projects.
How does a picture come into being?
What is music?
What is a composition?
How does a painter interpret the phenomenon of time in his work?
These are just some of the questions we deal with in the ensemble “a200ms”.
Meetings in the studios and the rehearsal rooms provide the space to discuss the necessary questions. Texts on topics such as examining the difference between visual and auditory perception, discussing questions about the similarities between color resonance in painting and resonance in the helmholtzian sense, looking closely at the phenomenon of time, and, of course, trusting each other to let ensemble members from other disciplines share in my individual processes. All this together provides the basis for an equal joint creation.
The painter speaks as a composer and the musician understands the language of the painter.
Out of this common creative process arises the idea of a common presentation. The considerations already start with the name of the presentation, leads over the positioning of the abstract visual reference and the sound body up to the lighting and the duration of the performance.
The recipient should be given the opportunity to witness the interpretation. To perceive the abstract visual reference as well as the musicians at the same time. To position the musicians in a kind of orchestra pit would bring the visual work to the fore. To position the musicians classically frontal to the audience would not do justice to the work of the painter. At the current stage of our considerations, positioning the audience behind the musicians comes closest to an equal presentation.
Looking over the musicians’ shoulders as silent witnesses during the interpretation seems a suitable role for an interested audience.