Most of Erdmute Blach\u2019s works exhibited here are purely painting sui generis. That irritates especially the one who knows her broad, diverse oeuvres. But he knows that she doesn\u2019t confine her artistic desire to the genre-formative category, then that is painting. She searches for contacts across genres.<\/p>\n
\nOne medium to mention is artists\u2019 book, in which she, with graphic and artistic competence, focuses on literature from Friederike Mayr\u00f6cker for example or music from John Cage. Beyond this, Erdmute welcomes the risk of working outside her studio, in fact her studio hasn\u2019t been bound to a specific location during the past several years. But no, she doesn\u2019t indulge in plenair painting and stands in the harbor or by the fishponds at H\u00fctter Wold with her easel. She spent time during the last two years as visiting artist in Portugal and Sweden and exhibited in both places. In 2015 she will paint again in a studio in Estremoz at the wish of the Dutch foundation Obras.
\nThe risk of painting outside familiar rooms exceeds, however, the more or less sheltered existence of a studio stipendiary. Everyone who received an invitation to today\u2019s opening suspected as much. As you already know, honored guests, the performance of the composition \u201chunt\u201d by Sven Daigger has been announced for 27 May. Erdmute Blach will provide artistic accompaniment on the overhead projector to the Kamerata Artika under direction of Allesandro Palumbo. The adjective \u201chunting\u201d was added in front of the title of the 10 minute long piece for flute, clarinet, violin, viola, cello and piano from 2013. A play on words, so much is certain, and its mysterious meaning will be first unlocked for you and me during the performance.
\nIt is deserving to perform Sven Daigger\u2019s piece here. He studied in Rostock and, after the departure of Adriana H\u00f6lszky to Salzburg, also there. The piece was debuted almost exactly a year ago as Daigger studied under the wing of Wolfgang Riehm in Karlsruhe. There is, however, a certain relation to the exhibit itself. Erdmute Blach exhibits here two paintings she conceived in the resonance space she explored in her musical memory of the piece \u201cStrom\u201d by Sven Daigger. “Drehpunkt Kultur” reflected on the debut with the words \u201cwith great pull and momentum Sven Daigger\u2019s ‘Strom’ for flute, clarinet, piano and cello [\u2026] flowed, boomed and swelled [\u2026] sometimes rhythmical capers with white crowns on the waves struck the surface and at other moments sent restrained impulses ‘from below’ to the top. Scherzo-like moments, even gleaming memories of a ‘romantic’ musical language passed by like distinct and demanding or soft and resilient rhythms.\u201d
\nErdmute Blach\u2019s diptych retains a single language \u2013 the language of the image. While in the piece on the left the red catapults explosively from the deep to the surface, the piece on the right captures the delicate polyphony of broken luminance and serial seeming contours. Especially the alluded-to spatial perception in the diagonal and iridescent partition from dark to light appear like a pictorial-composed reverberation to Daiggers piece. The prolonged pizzicato in the quiet finale finds its equivalent in the fine white-gray lineament. It is a notable trace that the viewer can understand with confidence as a prelude in order to read the painting from front to back. That which a notable composition doesn\u2019t allow is no problem for the art of painting. When viewing art, the chronology of how the painting came to be is not of concern. We meet the painting on a time continuum, comparable with the snapshot of an audio track.
\nErdmute Blach, who never listens to music while she paints, creates in her artistic reference to a composition something that only concentrated listening can produce and that requires the subsequent release from the immediate musical impression. Mentally active acquisition and undivided attention are basic requirements when searching for and finding the individual musical language of the colors. With her personal musical perception only she knows in her head, Erdmute asserts herself again and again in her studio with this lonely self-conception of a visual artist.
\nAllow me now to go into two work series: a four-part series in which Erdmute Blach references \u201cKlangwaben\u201d by Adriana H\u00f6lszky for violin solo from 1993. The starting point for the composer was a scientific study of bee communication signals focusing on the tones made by young queens still in their cells and the tones of those already hatched. The reduced, raw and frictional voice of the piece, which features a drawn out, ticking, warily fading end, is notable. Erdmute Blach chooses a four stage picture development that move from an oppressive, misaligned space to an increasingly fluid, dynamic surface. Erdmute Blach\u2019s series inspired by the 17-minute long composition from J\u00f6rg Widmann, \u201cSphinxenkl\u00e4nge und R\u00e4tselkanons\u201d is a recent work. Her pictorial abstractions, especially the contrast between the changeable, smeared space-making surfaces and the precise, hard forms function as a counterpart to the heard sounds. The composer wrote, in the lead-up to his 2011 performance in Rostock of \u201cSphinxenkl\u00e4nge und R\u00e4tselkanons\u201d that it had become \u201cincreasingly important\u201d to him \u201cto use sounds and rings not only as simply tonal phenomena, but to link these techniques with stringent forms.\u201d In this respect, Erdmute Blach has grabbed a hold of the composition\u2019s thread. Perhaps the exhibit can present the possibility of the first direct encounter between the artist and the composer. Tonight this meeting will not happen; both artists are, in different time zones and locations, in the public eye. Like Erdmute Blach here, in six hours time tonight in New York, J\u00f6rg Widmann will premier his composition \u201cFantasie f\u00fcr Klarinette solo.\u201d
\nAlongside the aforementioned compositions, which constituted the acoustic inspiration for specific paintings, I could mention others, but I will let you discover them yourselves. Also the artist\u2019s penchant for choosing expression markings to title her pictures waits for your discovery, honored guests. Strong rhythmical Indian ink and charcoal drawings and collages complete this impressive show in an appropriate venue. Congratulations, dear Erdmute, and thank you for your attention.<\/p>\n
Thomas Kumlehn – opening of the exhibition Malerei & Konstrukte<\/em>\u00a0 at Rostock University of Music and Theatre 11.04.2014<\/p>\n","protected":false},"excerpt":{"rendered":" Most of Erdmute Blach\u2019s works exhibited here are purely painting sui generis. That irritates especially the one who knows her broad, diverse oeuvres. But he knows that she doesn\u2019t confine her artistic desire to the genre-formative category, then that is painting. She searches for contacts across genres.<\/p>\n","protected":false},"author":1,"featured_media":281,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[32],"tags":[],"class_list":["post-244","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-texts"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/erdmute.eu\/en\/wp-content\/uploads\/sites\/2\/2014\/05\/hmt.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6r1JS-3W","_links":{"self":[{"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/posts\/244","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/comments?post=244"}],"version-history":[{"count":3,"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/posts\/244\/revisions"}],"predecessor-version":[{"id":1263,"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/posts\/244\/revisions\/1263"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/media\/281"}],"wp:attachment":[{"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/media?parent=244"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/categories?post=244"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/erdmute.eu\/en\/wp-json\/wp\/v2\/tags?post=244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}