VENICE BIENNALE DIARY MAY 14

Although it took Paul Morgan a great deal of time to assemble, the synth is built for an improvised performance with very little post-production, he will conjure a soundscape in conversation with my live-drawing performance, essentially using me as a proxy painter to draw the sounds.

May 14

Today I meet with musician Paul Morgan who has come over from London to perform with me tomorrow as part of the exhibition performance schedule. He has carried with him a spectacular modular synth that he soldered, assembled and re-wired himself. It’s a complicated looking machine with a colorful mess of patch-cables. He explains that although it took a great deal of time to assemble, the synth is built for an improvised performance with very little post-production, he will conjure a soundscape in conversation with my live-drawing performance, essentially using me as a proxy painter to draw the sounds. We discuss doing a series of performance throughout the summer back in London. The set up is ethereal in nature, he explains, each performance will be entirely different both electronically and from a sound perspective. The process makes use of happy accidents with mistakes making up the material – learning through failure.

The performance will take place on May 15 between 7:00 – 9:00 pm and we will rehearse in the space during the day when the gallery is open for viewing.

Wines will be served and all are welcome!
Address: ARTI3160, Salizzada Malipiero, 3209, Venice, Italy

Paul Morgan and Claire Zakiewicz discuss their performance on May 15 outside the exhibition Imprecision: The Aesthetics of Failure
Paul Morgan’s Modular Synth to be used as the instrument for Wednesday’s performance

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