Eyes As Bright As Diamonds
April 11, 2018
Morton H. Meyerson Symphony Center
Curated by Muriel Quancard
Musicians of the Dallas Symphony Orchestra:
Nora Scheller and Lydia Umlauf, violins
Valerie Dimond, viola
Nan Zhang, cello
On the occasion of the 2018 Dallas Art Fair, Jen Ray collaborated with Texan singer/songwriter Sarah Jaffe on a newly-commissioned performance as a prelude to the 2018 Nancy A. Nasher and David J. Haemisegger Family SOLUNA International Music & Arts Festival.
Eyes As Bright As Diamonds invited a variety of performers from the Dallas area to join Sarah Jaffe in an exuberant and passionate multi-layered performance circulating and flowing around the Meyerson Symphony Center grand staircase. This site-specific performance explored the dark glamour of American life and its history of transformation and reinvention.
Performers:
BOOKER T WASHINGTON HIGH SCHOOL DANCE CONSERVATORY
THE HALTOM COLOR GUARD
THE HALTOM DRUMLINE
SMU BALLROOM
Team:
Sherri Segovia Choreographer
Carlos-Alonso Parada Stylist
Jen Ray is represented by Albertz Benda Gallery.
Sideways/Corner
April 14, 2016
Morton H. Meyerson Symphony Center
Curated by Muriel Quancard
Musicians of the Dallas Symphony Orchestra:
Filip Fenrych & Lydia Umlauf, violins
Emily Williams, viola
Jennifer Humphreys, cello
On the occasion of the 2016 Dallas Art Fair, the Dallas Symphony Orchestra presented an installation / performance by Barbara Kasten as a prelude to the annual Nancy A. Nasher & David J. Haemisegger Family SOLUNA International Music & Arts Festival.
Projected onto the arch outside of the I. M. Pei- designed Meyerson Symphony Center, Sideways/Corner was a theatrical intervention, allowing the architecture to serve as both screen and backdrop. Beginning as a single, rotating cube, the work explored the interplay of primary colors and forms, gradually becoming more complex. Sideways/Corner simultaneously and paradoxically referred to the stability of the surface on which it was projected, commanding its site to serve as a stage of changing reality.
Barbara Kasten worked closely with SOLUNA’s curatorial team to select a program of contemporary music for string quartet.
Music program:
PHILIP GLASS String Quartet No. 4 "Buczak": 1st Movement
PHILIP GLASS String Quartet No. 3 “Mishima”: 6th Movement
THOMAS ADÈS Arcadiana: IV. Et...(tango mortale)
PHILIP GLASS String Quartet No. 3 “Mishima”: 1st Movement
Barbara Kasten is represented by Bortolami Gallery.
de-finition/method “listening to painting, looking at music”, April 9, 2015
Morton H. Meyerson Symphony Center
Curated by Muriel Quancard
Musician of the Dallas Symphony Orchestra:
Eunice Keem & Alexandra Adkins, Violins
Barbara Sudweeks, Viola
Christopher Adkins, Cello
On the occasion of the 2015 Dallas Art Fair, the Dallas Symphony Orchestra presented a new commission to French conceptual artist Claude Rutault as a prelude to the first SOLUNA festival.
Artist statement:
this pictorial piece works in conjunction with beethoven’s string quartet in f minor, opus 95 (serioso)
a square space large enough for four musicians to sit comfortably is marked out on the ground.
four stacks of canvases are placed around the square. some of the canvases are painted white while others are painted black. the canvases are assembled randomly (so that the black and white don’t alternate regularly) into screens of two, three, or four panels.
just before the first movement begins, a screen made of four canvases is unfolded more or less regularly along one of the sides of the marked-out space. before the beginning of the second movement, a new screen is added. the panels should remain folded enough to allow the screens to stand upright. this is repeated for the third movement. before the beginning of the fourth movement, the remaining screens are positioned so as to hide the musicians.
the remaining link between the musicians and the audience is the music.
the pictorial ensemble is superimposed on the music; it changes the way the canvases are viewed, the way painting is viewed, while also altering ordinary listening, particularly during the last movement. the musicianswill not see the audience, and the audience will not see the musicians, yet the audience is not listening to a record, and the musicians are not rehearsing; both the audience and the musicians are at a concert.
- claude rutault
Dancers from Avant Chamber Ballet, Dallas:
Company Director: Katie Puder
Natalie Anton
Emily Dixon
Christy Martin
Kaitlyn McDermitt
About de-finition/method (2015)
Claude Rutault is represented by Perrotin
April 11, 2014
Morton H. Meyerson Symphony Center
Musicians of the Dallas Symphony Orchestra
Curated by Muriel Quancard
The SOLUNA Festival was first announced at a pre-launch event at the Meyerson Symphony Center on the occasion of the 2014 Dallas Art Fair.
Artist Ryan McNamara was commissioned to introduce SOLUNA with a performance in collaboration with musicians of the Dallas Symphony Orchestra enveloping the audience with a dynamic experience in symphonic music.