||about the performances
|| "Until the beginning of the 90i's the performance|
is the focal point of Peter's work. For
example Gravétti on 1989, avril 11th in
the Moltkerei Cologne.
'paper, carbon paper, tesa film, plastic foil,
stones, square-bare wood, electro cable,
mull bandage, logs of tree, poplar bark
pieces, wooden bench, poplar branchs,
withers poplar leaves, dried up green
felt-tip pen, autoreverse walkman,
endless tape (recording of the
Those are the ingredients of Gravétti.
Duration just eleven minutes. Again
you got the notice that there exists no real
professional recording, the recording
nevertheless is part of the performance
and is as professionally as it is used
within the performance, because
immediately after the action ...
it is played about the rests.
The recording, that is Peter's music.
It puts certification off from a arduous,
occasionally also infuriated process;
it sounds of sweat, work, agression,
it tells about the maltreated materials
and it gives an idea also a few from
the distressed anti-professionalism.
The slack breath of the art worker
forms a type of continuo. The trace
of the sound is wrested from the process.
A battleground remains back, which
is cleared away after some time. The
'work', the pasted action was from a short
duration; the formationed frottages are
recycled as an 'exhibition', the music,
the recording is a preserve.
Another point of aim in the installation is
the performance, which did not evaporate
with the lengthened instant of the
sound composition by any means. The
action becomes the spiritual ritual
of the structure, it contracts with the
unofficial prehistory of the installation.
To EKSIT it was the spreading of the
linen strip, at which the acoustic way is
led along. It is as it were sense-fulfilled,
loaded with felt energy. The actionisme,
the preparing foundation of the sound
spaces, lately is ever more frequently
a shamanistic ritual. Peters ever more
frequently builds esoteric bridges
into other worlds. The ground planes
of his spaces often enough are based
on geomantic measurement lines. Such
transcendence balances not rarely on
the narrow burr to esoteric stranded
goods. But the sense is not proclaiming
cheap messages. Esoteric energies:
spiritual ritual lineatures would be better,
- those may be part of a secret science,
but it creates order.
Refrained from it Peters is not alone.
Not coincidentally he appoints himself
again and again to Joseph Beuys, who
was a modern shaman, or to John
Cage, who knowed to use the
transcendental forces of the
Also the sound portrait (of the sound
installation Vasí-on - day- and night piece
for the Donaueschinger Musiktage
in the pavilion of the parc of the palace)
for six tapes is based on a ground plane of
geomantic ley lines, which were
incantated surely consecrated in an
unofficial night piece, a shamanistic
performance. Those who were present, had
completely the impression to attend a distressed
indiscretion. The official sight- and hearing
situation produces a fragil frame of smeared,
unbelievably discreeted sound mixtures ... "
"I transport energy ..."
A portrait of the composer,
sound artist and musician
Norbert Walter Peters (selection)
from Reinhard Ermen
2001-07-28 Studio for new music.
– textes –
in addition on performances