![]() ![]() Wong has shared her work internationally at venues including Fondation Cartier, Paris Cafe Oto, London Fabbrica Europa, Florence Sydney Festival The Lab, San Francisco and The Stone in New York City. Recent commissions include pieces for NakedEye Ensemble, San Francisco Girls Chorus, Splinter Reeds, and Del Sol String Quartet. In 2022, Wong was the inaugural Sound/scapes artist at the San Francisco Asian Art Museum, creating three site-specific performances inspired by artworks in the museum’s collection. ![]() Harbors, her collaboration with Long String Instrument inventor Ellen Fullman, was released on room40 to critical acclaim and chosen as one of Wire’s top 50 releases of 2020. ![]() Her works include She Dances Naked Under Palm Trees, commissioned by pianist Sarah Cahill for The Future Is Female project, As We Breathe, an installed song commissioned by Long Beach Opera for the 2020 Songbook, and The Unlearning (Tzadik), twenty-one songs inspired by Goya’s Disasters of War etchings which premiered as an intermedia performance at Roulette in Brooklyn in 2013. Theresa Wong is a composer, cellist, and vocalist active at the intersection of music, experimentation, improvisation, and the synergy of multiple disciplines. Through amplification, the work illuminates the vast sonorities of the cello and voice as tonal, percussive and textural terrains, synthesized in a continuum of sound. Examining alternate harmonies, tunings and resonances is a vibrational act of seeking new modes of relating to one another and to the environment around us. The work stems from the ongoing inquiry, “how can I rediscover the core of the cello as wood and string and hair, or even simply as a tree?” The tuning is centered around a lower A 216 Hz and in scordatura, allowing for harmonic explorations in just intonation, a tuning system based on the natural overtones of resonating frequencies. The piece synergizes composition, improvisation, song forms, noise, and harmony through a unique timbral merging of cello and voice. Printmaking is an integral part of his total work of art, and it is not surprising that he prints on relics from his performances, combines his printing plates, and layers them like strata, sometimes adding his own handwork.Ĭollaborating with Viennese printer Kurt Zein, who passed away in August of last year, was also crucial for both artists.Fluency of Trees explores connection to the primal sentience of the natural world. Nitsch sees printmaking as a means of reproducing his architectural drawings, which he began creating in the mid-1960s for his Orgies Mysteries Theater. He remains committed to the visual language of his parallel drawings and poetic images. Although Nitsch had already produced exemplary work in the 1950s, due to his training at the Graphischen Lehr- und Versuchsanstalt (Graphic Training and Research Institute) in Vienna, both artists began to consistently incorporate printmaking into their practice only in the 1980s.īrus, the proponent of “direct art,” works directly on the printing plates without prior sketches, using tools such as a burin, stylus, knife, and whatever else is available to him. However, their printmaking has only gained public attention in recent years. Photographs of their actions are displayed in major museums around the world, as are the countless drawings by Brus and the expansive pour paintings by Nitsch. Günter Brus and Hermann Nitsch are internationally known as the key figures of Viennese Actionism and pioneers of performance art. The exhibition will be opened by Roman Grabner from the Universalmuseum Joanneum. Galerie Sommer warmly invites you to the opening reception of the exhibition “Masterful Prints by Günter Brus & Hermann Nitsch,” with the presence of Günter Brus. ![]()
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