CCINQ: Josef Albers – Walrus
Published on September 10, 2020
In 1959, Charles E. Murphy, the artistic director of Command Records, asked Josef Albers (1888 – 1976) to produce a drawing for the sleeve notes of the first record released on the label, ‘Persuasive Percussion’. It was the start of a collaboration that lasted until 1961, during which time Albers produced a total of seven drawings. Characterised by their simple style, they have remained resolutely modern and graphic.
Walrus (Michiel Claus, 1987) is a DJ, producer and music archaeologist with a passion for 90s dance music.
For this show, CCINQ asked Walrus to create a performance based on the modern gestures Albers produced sixty years earlier, gestures that transcribed percussions and melodies into shapes and patterns.
Over three days, Walrus will experiment with the possibilities offered by the ARP2600 synthesiser (an American instrument he has never played before) and will imagine a sound drawing, freely inspired by Albers’ squares and grid points. Each evening, Walrus will present a different performance, in which art will be transformed by the links
Through his research, Walrus will capture different ambiances, sequences and sounds, which will be uploaded to the internet in the form of open source samples, available on the CCINQ website.
After these three evening performances, the ‘3 pieces for synthesiser (black, white, blue)’ will be exhibited until 17th October via a sound device on our premises. In the absence of the makers, this device will emphasise the ephemeral nature of music production and recall the key role played by club culture in contemporary creation. Following on from our previous exhibition, we wanted to express solidarity with a sector that has faced significant difficulties this year.
Performance September 10, 11 and 12 at 8pm
Open by appointment – Exhibition closes 17th October
Rue Marché aux Herbes 116 – 1000 Bruxelles
firstname.lastname@example.org – ccinqspace.com
CCINQ is a non profit space initiated by C12, directed by Patrick Carpentier and co-curated by Manon Ceyssel
CCINQ is supported by Fédération Wallonie-Bruxelles