TOTAL MUSIC MEETING 2004 (4. - 6. November)

Internationales Künstlerfestival für Improvisierte Musik

Berlinische Galerie

Landesmuseum für Moderne Kunst, Fotografie und Architektur

Alte Jakobstr. 124 - 128, D-10969 Berlin

Prof. Dr. Michael Tucker, University of Brighton
5. November, 18 Uhr
Eintritt frei / Admission free

Hearing the Colours, Dancing the Heartspace

All art aspires to the condition of music, said Walter Pater in a famous essay on the school of Giorgione. But what is “the condition of music”? The poet Rilke believed that music was that heart-space grown out of us which could take us to the deepest dimensions of our lives. Subsequently, avant-garde artists of all media have tended to agree with both Pater and Rilke. In particular, strong bonds have been forged between the worlds of jazz and free improvisation and the plastic arts. The words of Dizzy Gillespie, from his autobiography To Be Or Not Bop, are typical here: “In improvisation,” said the great trumpeter, “ the first thing you must have is the sight of a gifted painter. You´ve got to see colours and lines in music, and then you´ve got to be able to mix the colours and draw the lines.” Eric Dolphy agreed: his first two albums featured original images by Richard Jennings, a Surrealist-oriented painter friend, and in June 1962 Dolphy participated in a multi-media event in Washington with abstract painter Paris Theodore and a ten-piece dance ensemble. One of the last quotations in Derek Bailey´s classic 1980 book ´Improvisation: Its Nature and Practice in Music´ comes from the Italian Futurist Marinetti, while the late German musicologist Peter Niklas Wilson devoted much of his 1999 book ´Hear and Now´ to a consideration of the parallels that might exist between the world of contemporary improvisation and a variety of image-making today.
The lecture considers some of the chief aspects of this rich cross-disciplinary theme, from the era of Rilke and Kandinsky to today, and with the aid of slides, original works of art, and videos.

Michael Tucker


Prof. Tucker´s academic background is in the cross-disciplinary history of ideas, art and culture, withan emphasis on the 19th and 20th century studies. He has developed several unique undergraduate elements of study at Brighton, including multi-media courses in Scandinavian Studies c.1850-Now, Jazz Studies and Nada Brahma: The World is Sound, and is particularly interested in the idea of shamanism as a means of revisioning the critical import and potentiality of the arts today. His special fields are: 20 th century poetics, 20 th century painting; primitivism in Western culture, with special reference to shamanism; Scandinavian art & culture c. 1850 – now; jazz/contemporary music.

He has organised many musical events at the University, including a November 1999 month-long celebration of ECM Records, Munich, and is a regular reviewer and contributor to ´Jazz Journal International, Avant.´Professor Tucker´s recent projects include the first British exhibition of the work of the Czech-born, Swiss-domiciled artist Jan Jedlicka (March 2003) and Dream Traces: Contemporary Australian Aboriginal Art (April/May 2003) – the first in a projected biennal series of Breathing World exhibitions largely but not exclusively focused on the art from beyond mainstream European culture. He is currently supervising several cross-disciplinary PhD theses and is a member of the Faculty´s ´Memory, Identity and History´ research groups.
He has participated in Total Music Meeting 2003 with a brilliant lecture on the music and paintings of Alan Davie (“the painter of jazz this century”) showing rare slides and video excerpts.
He is working on a book on Munch and Cézanne and preparing a major exhibtion on Miro´s public art.

Exhibitions and Curatorships:
Frans Widerberg: A Retrospective (first British touring show on Norway´s leading Expressionist painter and graphic artist, 1986-87)
Landscapes From A High Latitude: Icelandic Art 1909-1989
(co-selector, with Julian Freeman, of the first British touring exhibition of Icelandic art, 1989-90)
Alan Davie: The Quest for the Miraculous –Paintings, Gouaches & Drawings 1959-1993 (British touring show, with catalogue produced in collaboration with Barbican Art Centre, London, 1993-94)
Ian McKeever: Works on paper 1981- 1996 (British touring show, 1996)
Alan Davie: Drawings (1939-1996) (British touring show, in collaboration with Scottish National Gallery of Modern Art, Edinburgh, 1997-98)
Harvey Daniels: Ten Years – Painting and Prints (British touring show, 1997)
Paul Benjamins: Light Years (British touring show, 1998)
ECM: Selected Signs (month-long exhibition of graphic art, painting & photography with related series of 11 concerts in celebration of the 30 th anniversary of ECM records, 1999)
Alan Davie: Small Paintings 1949-2000 (British touring show, 2001)
Brian Rice: Retrospective Exhibition (British touring show 2001)
Mayo Bucher: Open Sign (touring to Leipzig, Herbst 2002)

Publications (among others)
Dreamer in a Landscape, in: Frans Widerberg. A Retrospective Exhibition
University of Brighton/University of Northumbria at Newcastle, 1986
Not the Land, but an Idea of a Land, in: Freeman, J. (ed.): Landscapes From A High Latitude: Icelandic Art 1909-1989. Lund Humphries, London 1989
Music Man´s Dream, one of two essays in: Alan Davie. Lund Humphries, London 1992
Dreaming With Open Eyes: The Shamanic Spirit in Twentieth- Century Art & Culture´
Aquarian/Harper Collins, London & San Francisco 1992
Alan Davie: The Quest for the Miraculous (ed. & contrib..), University of Brighton/Barbican Art Centre/Lund Ltd., London 1993
Frans Widerberg: Pictures. A Journey. Labyrinth Press, Oslo 1994
Beyond Psychoanalysis, in: Cézanne: Three Visions. Contemporary Art, Vol 3., No. 3, London 1996
The Body Electric: The Shamanic Spirit in Twentieth-Century Music, in: Steer, M. (ed.): Music and Mysticism, Contemporary Music Review, Amsterdam 1996
A Dance at the Edge(s) of Time, in: Ian McKeever: Works on Paper 1981-1996
University of Brighton/Contemporary Art Books, London 1996
9 articles on Scandinavian culture, painting & sculpture (covering medieval & modern material) for Macmillan Dictionary of Art, Macmillan 1997
Ten Years, in: Harvey Daniels. University of Brighton, 1997
Sleevenotes for Tommy Smith Azure. Linn records, Glasgow 1997
Jan Garbarek: Deep Song. Eastnote/University of Hull Press, Hull 1998
Frans Widerberg: An Artist in Glass, in: Frans Widerberg: Glass Work
University of Northumbria at Newcastle/The National Glass Centre, Sunderland 1999
A Song of Something Else: On the Poetry and Jazz of Jan Erik Vold and Jan Garbarek, in: Karlseglen,
O. (ed.): Jan Erick Vold og Jan Eric Vold Cappelen Akademisk Fortag, Oslo 2000
European Voices, in: Gelly, D. (ed.): Masters of the Jazz Saxophone. Balafon/Outline Press, London 2000
A Mystic Ring of Shapes, in: Brian Rice: A Retrospective Exhibition. University of Brighton, 2001
Eberhard Weber, in: Eberhard Weber: Edition of Contemporary Music, ECM, Munich 2001
Core Imprints: The Graphic Art of Frans Widerberg, in: Frans Widerberg: Grafikk 1990-2000. Labyrinth
Press, Oslo 2001
A Company Beyond Time: Alan Davie at the COBRA Museum for Modern Art, in: Alan Davie: Paintings 1950-2000, COBRA for Modern Art, Amstelveen 2001
Invitation to the Voyage: The Music and Art of Thomas Widerberg, in: Avant, issue 19, summer 200
Mueller Publisher, Baden 2002
The Snowball Effect: Contemporary Norwegian Music, in: Avant, issue 21, Spring 2002
Contemporary Norwegian Graphic Art, in: Printmaking Today, vol. 11, issue 2, Summer 2002
Editor & contributor to Dream Traces. A Celebration of Contemporary Australian Aboriginal Art, University of Brigthon/Rebecca Hossack Gallery, London 2003

Has contributed to many books in Jazz

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Programm Total Music Meeting '04 | Kunstedition/Spendenaufruf | Lecture | Workshop