I'm Carlos Amorales. I am a Mexican artist
who has been working for 15 to 20 years with many different media,
from drawing to sculpture, to cinema, to music.
The mobile was really inspired by an invitation
to be at the last Atelier that Calder had in France.
It's a residence in a very small town in Saché,
and it's very beautiful, because it's a combination
of his house and his studio.
And for me, what was really interesting was to start to
understand how he built his mobiles, and to see how he bent the metal,
what kind of metal, when he made them.
So there are these big differences of scale and of materiality,
but what is very beautiful in his work is that it's made very organically.
Like, you feel his—I wouldn't say his hand, but his strength.
To me, that was something interesting to think about.
So, this piece was made in France. And I got this idea to
combine the structure of the mobile with a musical instrument.
And I thought of the cymbals because it's very beautiful,
but also it's very simple, it's just a percussive instrument.
So you can actually play it. And they're handmade.
For me, it was very nice, because I had the chance to
install the piece in the Atelier, look at it, understand how
it works physically, musically—you know, I recorded it,
I filmed it, I tried many, many, many things.
One of the pieces I did after the cymbal piece is called
"Erased Symphony." I invented a system to print, but with pencil.
It's a cutting machine that has been transformed. So instead of cutting,
it is basically drawing. But what allowed was the possibility
to print text in pencil. And since you can print with pencil,
you can also erase it. So, I became interested in, like,
how erasing a matrix can affect, let's say, a result.
And therefore I had the idea to ask a small ensemble to perform
a well-known piece, and then have it erased, and then re-interpreted,
and see what was left, what was changed, and how to interpret it.
It became a very interesting thing.
That's what I did in Austria, with the Kaiser Waltz—
for Austrians, it's like the most well-known song, like an anthem.
It's a piece from Strauss that Schönberg transformed from a
large orchestral into a smaller orchestral version for seven musicians.
He transformed it into something much more accessible.
From that, let's say, modernized version, we did this experiment—
printed the score, erased it, discussed it with the musicians:
"What would it mean when you erase what comes there?
Is it a silence, or not? How do you interpret silence?"
Because also what I did was to work with contemporary musicians,
who are used to interpreting, I don't know, John Cage,
or non-traditional scores. It was good because we could really
think of how to bring the problems further. So, it was not just a question
of silence and sound, erasing or not. Because, you know,
something that happens when you erase is that you leave traces.
How will these traces sound, or be interpreted—will they be like a ghost,
or will you ignore them? Or will that be noise? So, at the end,
this became a transformation of a well-known piece.
I mean, I like music, but I am not a musician at all.
I have to arrive to music from other angles.
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