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Community | John Bowers
During the 1960s and 1970s many musical instruments were publicly destroyed for various artistic ends: as counter-cultural rebellion, as sacrifice, or to explore extreme, indeed terminal, sonic possibilities. Nam June Paik’s One for Violin Solo (1961 or 1962) is an early notorious example while Jimi Hendrix’s strat-cremation at Monterey (1967) is the most famous. Over the course of four days’ work at the Norwich Gallery, Atonement for Violin Quartet revisits and extends this ambivalent territory. Violins (most mass produced in the People’s Republic of China) will be broken up daily as part of a lunchtime concert series. Yet they will be rebuilt, in some cases with electronic and digital augmentation. The possibilities in the instruments at various stages of their transformation will be investigated through sound installations and performances both within the lunchtime concerts and impromptu. A website associated with Atonement will publish image and sound relics as activities unfold. Atonement will culminate with a webcast performance of Dust, Splinter, Shard, Lump (for Restored Violin Quartet)
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