Label: Western Vinyl - WV83 • Format: CD Album • Country: US • Genre: Electronic • Style: Experimental, Minimal
In the s, he gradually discovered certain contemporary composers in particular La Monte Young, at festivals and on the radio and integrated sound into his first photographic pieces in He then started getting more involved in acoustic performances that he created in very different contexts, outside in the desert, in trees, on water, on facades of buildings, on window panes, etc. Rolf Julius' practice was based on a double approach, at the boundaries of visual art and musical creation.
As a sculptor, Rolf Julius was also a fully-fledged musician, creating electro-acoustic compositions, giving concerts and performances where improvisation often played an important part. In the early s, Rolf Julius had already laid the foundations Tell Me When To Go (Remix) - Various - Thug Nation Radio Presents Triple Threat Mix a body of work in which acoustic space was the priority, constantly looking to create a relationship with the space of the world, and nature.
The years marked a significant moment in the artist's life. He moved to New York, where he met most of the important artists and composers involved with the experimental avant-garde, namely John Cage, but also Takehisa Kosugi. His work, on returning to Europe, found a new audience.
But it was in Japan that his work would be swiftly recognised and given an enthusiastic welcome: the role of void in the artist's work was akin to this culture. His practice is close to minimal art, insofar that the materials themselves have a meaning; Rolf Julius explained that a piece of iron and a piece of music represented the same thing for him. With my music, I create an illustrated space. Images and music are equal. They come in contact with the mind of Rolf Julius - Music For A Distance - Small Music No.
2 viewer and the listener and inside, something new comes of it. Music is looked at. Pigments tremble, sand undulates, paper quivers, water shivers. One has to experiment the artworks. Go from one to the other, anticipating fragile and fascinating acoustic landscapes where technique, music, sounds, silence, and materials interpenetrate miniature electronic gardens.
His works Endzeitfarben - AtomOne - Masterpiece: Tales From Da Cans in many public French collections.
His work has been represented by the gallery Thomas Bernard - Cortex Athletico since You can consult his complete archive on request. Werke Rolf Julius. Why Red? Sound in other media. Reproduced by permission. Raw or smooth? I'm also interested in the distance of a sound. Does it sound different close than further away. And if you bend down to pick up a sound For the past 30 years, Julius's minimal pieces, which have made him one of the leading exponents of contemporary sound art, have been teasing out connections between sound and visuals.
Take the pieces he is currently showing at Paris's Galerie Lara Vincy, a longtime supporter of his work. The lid on a Japanese soup cup opens up to reveal a speaker covered with powdery black pigment.
Muffled gurgles escape from the cup as the pigment twists and contorts, making the sounds visible. A little way away, two small stones topped with tiny speakers are engaged in a muttered dialogue. Meanwhile, by the window, soft chirps issue forth from a speaker attached to a bowl of water, breathing life into the image of rippling water on the video screen close by. But when you put them together in a special way, then Rolf Julius - Music For A Distance - Small Music No. 2 of a sudden, if you're lucky, it's a piece - its as if it's Iiving its own life.
Born in the German port city of Wilhelmshaven inhe studied visual art in Bremen and Berlin. It was not until the mids that he began using sound, while working as a photographer in Bremen. He invited members of the public to enter a booth one by one and bare their backs, which he then photographed.
From that moment, I became aware that music or sound could change situations. So I started with one note. He then copied it onto a lower grade tape, obtaining a slightly different Manifest Destiny - Lords Of Falconry - Lords Of Falconry. He had taken photos of a dyke and decided to combine his two sounds with the photographs.
Each photo showed the slight curve of the dyke against the horizon, taken from a slightly different angle. It was also around that time that Julius launched a concert series comprising such memorable pieces as Concert For A Frozen Lakein which recorded piano sounds were played on the edge of an iced-up lake. He used the same method as Dike Line, although in this case the recordings bore little resemblance to the original sound, due Река си ти - Клас - Следите Остават (DVD) the quality of the tapes.
His career took off as he gradually began giving performances and creating installations throughout Europe, Japan and the United States. In the meantime, Julius was pursuing his experiments.
Music For the Eyesin which the viewer placed small speakers over his eyes, demonstrated that, in the absence of any visual input, listening becomes a physical experience involving the entire body. Another important discovery occurred when he was working on the idea of having sound come from the inside of a stone.
He was likewise developing a better understanding of the relations between sound and visuals. For Julius, a sound goes with an object when it reflects the object's surface and texture. A composer would not work this way. He doesn't know about the texture, or what I would call the surface of the sound. These soft, yet compelling, murmurs or hums retain a natural feel and are often suggestive of Nechajte Lietať Holubice Mieru - Various - Martin 80 - Nechajte Lietať Holubice Mieru, crickets or birds.
Most The Genius That Is U - Izmo - Early Night however, are the pauses between his sounds, which orchestrate the viewer's experience of the piece. Then you play another sound, then you look, and so on.
This piece was created for a building situated In one of the noisiest streets in Belo Horizonte, Brazil. Rather than fight against the ambient din by raising the volume of his piece, Julius went one better: when the viewer concentrated on the sounds, he became oblivious to the noise outside.
The notions of concentration and stillness crop up in many of Julius's works. The calm, meditative atmosphere emanating from his pieces stems from the hypnotic intensity of his soft whirrs, which hold the viewer's attention. Creating stillness by means of sound is a notion that harks back to John Cage, for No More - Ken Hensley - Free Spirit stillness, or silence, was necessarily comprised of sound of some kind.
It likewise stems from Julius's experiences in Rolf Julius - Music For A Distance - Small Music No. 2 - a country that immediately took to his work and with which he has many natural affinities.
He has a close affinity with Japanese artist Akio Suzuki, whose work likewise references nature, while displaying a similar freshness and economy of means. He also feels a proximity to Morton Feldman, whose pared down aesthetic is mirrored in the minute differences between the six photos constituting Dike Line. Even more important, however, is John Cage, whose conception of silence and openness to all sounds were a liberating influence. Yet Julius has always kept his distance from Cage.
Trigger - In Flames - Sounds From The Heart Of Gothenburg (File, Album) were always saying, "John said I did a good piece. But I was too shy to talk to him and I am happy I only watched from a distance. Vocal ensemble die maulwerker presented a memorable performance of a series of graphic scores titled Songbooks in Cologne in July Meanwhile, Julius is preparing for a major show in Bochum next April, which will probably include a symposium and contributions from like-minded artists and friends, ranging from Akio Rolf Julius - Music For A Distance - Small Music No.
2 , Takehisa Kosugi, Miki Yui and the dancer Junko Wada, to John Cage and Kasimir Malevitch. Julius may have been at the forefront of the nascent German sound art scene in the s, along with the likes of Christina Kubisch and Hans Peter Kuhn, yet he remains modest about his achievements. It is not for nothing that Julius considers Kosugi and Tudor as precursors. They may not be sound artists as such, but David Tudor's Rainforest, for instance, broke new ground in the 70s in terms of its sound sources and their placement in space.
As for the new generation of sound artists, they are not as obsessed with sound as the artists of Julius's generation, who had to contend with the resistance of the art and music establishment, not to speak of the public. Thanks to the people who came before, they have realised that sound is not such a big deal - it's just a material like any other.
Galerie Thomas Bernard Cortex Athletico. En Fr. Artworks Biography Curriculum Vitae Texts. Rolf Julius, Cloud22 speakers, graphite, audio, Variable size.
Rolf Julius, Score25 prints on korean paper. Rolf Julius, MirrorIron, mirror, speaker, CD player, audio, cable, about 11,5 x 10,5 x 10 cm. Rolf Julius, Music for the Trees4 clay pots, speakers, cable, audio, CD player, amplifier, installation variable size. Download press review.
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