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ABOUT ART


VEXATIONS

THE MUSIC
TRACK. Erik Satie composed Vexations in 1893, but the music was played for the first time 70 years later, in 1963 in New York City, thanks to the initiative of the American composer John Cage.

Vexations presents itself as one of the “shortest” pieces in western world music (152 notes of which only 144 playable) and, paradoxically, is also the "longest" .... because its theme has to be repeated 840 times in a row. The track could be compared to the "pattern design" of an upholstery and is composed by a theme with two different harmonizations. Satie suggests one to be prepared in the utmost silence and serious stillness. For the first time the words "silence" and "stillness" are integrated into a musical work. The performance can last from 12 to 24 hours approximately, according to the pace applied by the interpreter. But do not forget that the indication written by Erik Satie is to perform "Très Lent".

RECORDING
Cristina Ariagno, during the recording of the whole piano works by Satie, played Vexations uninterruptedly for an hour and 15 minutes in a row, with a total of 42 executions (Volume VI of the integral album). In case, one can listen to the CD 20 times in a row and obtain the complete performance: 840 times for about 24 hours.

INSTALLATION
The installation Vexations was conceived as a special tribute to Satie. Cristina Ariagno wanted to reproduce in visual art the musical idea of the composer. A single pictorial work, however, was not sufficient to represent effectively the iterations of Vexations and the hypnotic effect caused by them.

Thus, from the first canvas the idea arose of reproducing hundreds of specimens in spun fabric. Each panel was cut in the same position, then stitched up with a different interpretation. The panels, meant as "pattern design ", adorn the room, while the visitor, sitting in front of a multi-media video, can absorb the musical, visual and perceptive effect as a whole.


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The colors of time Only a matter of time Seasons Tensilo Evolution Beyond the wait




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