Sixty-Four Bells and a Bow (interpretation of Christian Marclay's objects score)
Whitney Museum of American Art
New York, U.S.A.
Sixty-Four Bells and a Bow
2010, performance, interpretation of an ‘objects music score’ by Christian Marclay (curated by Marclay) at Whitney Museum of American Art
Marclay had a summer-length exhibition in 2010 at Whitney Museum w/ exhaustive numbers of art works that can be interpreted and performed by musicians and artists. I was given a score called “Sixty-Four Bells and a Bow” that was the collection of 64 hand-bells and a violin bow (as it can be read as a humourous “64 beauties and a gentleman”?) I decided to play with the characters of shapes of the hand-bells (none of them were alike. Each of them was unique) and the inventive interaction by the bow. Hence, I rarely rang the bells or not at all draw the bow. Instead, I played the tiny hollow spaces of the bells and used the width of the bow (not length) to raise the edges of bells, so the hollow spaces were ‘nearly’ closed but not completely. Those hollow spaces along side the spacious main room of the exhibition space had become my instruments. I placed two long tables in parallels (marked with ‘A’ and ‘B’) with the bells and the bow gradually moved, shifted and traveled with a wireless microphone a controller. It was an extended version of Car Décalé (Légèrement). However, the result was quite different. Clearly marked locations of the two tables made the rules of the interpretation more complex and game-like.