Vito Acconci
Bronx/New York 1940 - lebt in Brooklyn/New York

          

Teil der Compilation:

Airwaves, 1977
2 LP
A-1980-02
Audio

 

Compilation, Performance, Spoken Word, Laut-Dichtung
Vito Acconci
 
A-Seite
Vito Acconci, Ten Packed Minutes, 1977, 12:47 Min.
musikalische Ausschnitte der Aufnahmen von Leon Redbone, Cow Cow Davenport, Eric Dolphy, Karl Berger und Ornette Coleman
Jana Haimsohn, Hav' a Lava Flow, 1977, 2:36 Min.
Terry Fox, The Labyrinth Scored for the Purrs of 11 Different Cats, 1976, 9:03 Min., Ausschnitt

B-Seite
Julia Heyward, Mongolian Face Slap Big Coup (Part One), Nose Flute (Part Two), 1977, 8:48 Min.
Dennis Oppenheim, Broken Record Blues, 1976, 5 Min.
Meredith Monk, Rally, für 25 Stimmen, 1975-1976, 3:23 Min.
Meredith Monk, Procession, Stimme und Klavier von der Oper "Quarry", 1975-1976, 6:42 Min.

D-Seite
Diego Cortez, Arbiter, 1975, 1:42 Min.
Diego Cortez, You Pay, 1975, 1:45 Min. (Sound Track zum Film "Poisoning", 1975)
Jim Burton, High Country Helium, 1976, 5:58 Min., (mit: John Deak - Geige und Percussion; Ed Friedman - Bottle Neck Gitarre; Jim Burton - Peddle Steel)
Leandro Katz, Animal Hours, 1977, 7:50 Min. (Stimmen: Judith Hindra, Ellen Friedenberg, Ted Castle, Leandro Katz)
Connie Beckley, Triad Triangle, 1977, 5:48 Min.

C-Seite
Laurie Anderson, Two Songs for Tape Bow Violin: Ethics is The Esthetics of The Few - Ture (Lenin), Song for Juanita, 1977, 4:06 Min.
Laurie Anderson, Is Anybody Home, 1976, 4:27 Min. (für Schiffssirene, Kamera, Treppen, Klavier und Gesang, mit: Peter Gordon - Klarinette; Joe Kos - Schlagzeug; Scott Johnson - Bass; Laurie Anderson - Gesang und Geige)
Laurie Anderson, It's Not The Bullett That Kills You - It's The Hole (for Chris Burden), 1976, 3:49 Min. (mit: Scott Johnson - Gitarre, Bass; Joe Kos - Schlagzeug; Ken Deilik - Harmonika; Laurie Anderson - Geige und Gesang; Scott Johnson, Laurie Anderson & Ken Deifik - Arrangement)
Diego Cortez, Cataract Monologue, 1976, 2:53 Min. (Ausschnitte einer Ansprache zum "April Treffen", Belgrad, 1976)
Jacki Apple, Black holes/blue sky dreams, 8 Min.
Richard Nonas, What Do You Know, 1976-1977, 0:20 Min.

Vito Acconci, Ten Packed Minutes, 1977, 12:47 Min.
"This is written before the piece is recorded. What I want is: ten packed minutes (that can be the title-or, maybe, "Ten Minutes to Zero".) The beginning is a single voice: crooning familiars as a base for tongue-twisting (after all, this is a record: there's no space to pin down here-now do you get the picture?-so there are games in the air, yes, it's you/me/ we/go/come/who goes further/the question is, who made somebody come tonight, who among those crowds of people ... ) But the song drifts off: there's a world out there, besides you and me: so this is a record of war, there's been an invasion of the city that could have been built into the empire of our love. But things go quickly, on the air: there's an underground, time passes, the scene changes: this is like overhearing a police broadcast: there's a report, from person A, under the grating, of person B's movements, on top of the grating-have we caught a sneak out of those multitudes of armies? (So the picture becomes clearer, no? But, all the while, there's always the thought: we can go to the movies later.) Say, then, that person C has escaped: there's a bar in another part of the forest: but person C fades away here, person C is just the excuse for the placement of a duel duet: bring back the music, bring on the night. After a life like this, I come back to you, bearing my very first songs: but, now, by this time- oh-oh-oh ... At this point, then the picture should have disappeared right in front of your eyes; but what replaces it is, no, not a thousand words-rather, the sound of the sounding that the words were there merely to prop up" (Vito Acconci, zit. nach http://www.kunstradio.at).

LIT: Linda M. Montano: Performance Artists Talking in the Eighties, Interviews u.a. mit Eleanor Antin, John Cage, Suzanne Lacy, Faith Ringgold, Dick Higgins, Annie Sprinkle, Allan Kaprow, Meredith Monk, Eric Bogosian, Adrian Piper, Karen Finley und Kim Jones, Los Angeles 2001.