Acquisition of David Tudor's Rainforest
The macLYON launches its first public funding campaign for the acquisition of David Tudor’s soundwork, "Rainforest".
Acquisition of David Tudor's Rainforest
The Musée d’art contemporain de Lyon wishes to acquire the artwork Rainforest V (variation 4) conceived by David Tudor and realized by Composers Inside Electronics (John Driscoll, Phil Edelstein), a mobile sculpture whose electronic sounds evolve in space, exhibited at the macLYON as part of the 14th Lyon Biennale Mondes Flottants (Floating Worlds).
In 20 years, the macLYON has amassed a remarkable collection of sound installation works. These include pieces by the American ‘pioneers’, who were influenced by the charismatic composer and inventor John Cage, and would go on to completely transform the music world, with sound creations that came to be exhibited as works of visual art.
Rainforest V (variation 4) by David Tudor would be the ideal addition to this collection. Rainforest represents a unique moment in musical history.
From a total budget of €120,000, €100,000 will be funded by public institutions. In order to acquire the artwork, we need to collect a further €20,000
He started working with Cage in 1948 and the collaboration lasted until Cage’s death. David Tudor was fascinated by the spatial movement of sound in space and by technological innovations. He created the Music for Magnetic Tape Project, a pioneering group for improvised electronic music.
A stunning contrast between the soundscape of a tropical forest, a metaphor for the exotic, and the presence of suspended objects, ‘knick-knacks’ characteristic of our Western society of abundance, this work brings together two diametrically opposing worlds within the space of a unique sound and visual experience.
Rainforest V (variation 4) is an immersive sound installation that takes up an entire room; it is the expression of technology-become-art in order to plunge the visitor into a forest of sound, where he can expose his senses to a world of discovery.
Rainforest is an ecosystem of objects that completely immerses the visitor in sound. Each sculpture sings, croaks, clicks or rings, playing its own score before resonating again in the exhibition space, which acts as amplifier, and entering into a happy cacophony that becomes a collective noise. This group of heterogeneous objects echoes the great diversity of the flora and fauna of the natural world breathing and resonating in a state of constant agitation - a forest of sounds.
See how the visitors are pleased to discover Rainforest and hear each sound :
This installation is one of the five variations of Rainforest, originally conceived as a score for a choreography of Merce Cunningham. Each of these variations is unique. Rainforest V (variation 4) is conceived by David Tudor and realized by Composers Inside Electronics (John Driscoll, Phil Edelstein).
Waar dient de collecte voor
From a total budget of €120,000, €100,000 will be funded by public institutions. In order to acquire the artwork, we need to collect a further €20,000.
If the macLYON acquires Rainforest:
→ it constitutes the guarantee that this artwork will become part of France’s cultural heritage. It then becomes inalienable and cannot be sold or given to a third party.
→ it means that Rainforest will be frequently exhibited at the museum and will travel all over the world within the context of prestigious overseas exhibitions.
→ this open funding campaign will also contribute to passing on a rich cultural heritage to future generations, allowing France to reinforce its reputation as a centre of art and culture around the world.
A few examples of sound pieces in the collection of macLYON
Musicians Morton Feldman, Laurie Anderson, La Monte Young, Terry Riley… are all part of the museum’s collection with major pieces. Indeed since its creation in 1984, the macLYON has striven to portray the privileged link that exists between sound and space. It also aims to contribute to the question posed by certain volumes of sound, which are more than just music, although neither sculpture nor ‘installation’ nor mere sound itself, and whose experience is nevertheless visual. In an attempt to find the answers to this question, we held the exhibition New York, New Sounds, New Spaces with Stephen Vitiello in 2002, Soundtrack for an exhibition with Mathieu Copeland in 2006, and more recently Cage’s Satie, Composition for Museum with Laura Kuhn (2012).
Everybody can help us, every action counts !
You can share our crowdfunding campaign (#UnTudorPourLeMac) to your friends or on social medias.
You can donate, from 10€.
To thank you for your generosity, we have imagined some compensation related to our museum, wich may please you!