|
Rod Summers (born 1943), born in Dorset, England, is a sound, visual, conceptual artist, performance poet, dramatist, mail artist and book artist, publisher, archivist, and lecturer on intermedia. He is based in Maastricht, Netherlands. The results of Summers' multiple, art-related activities have often appeared as part of his concept of VEC (Visual, Experimental, Concrete), which he originated in 1973. In 1999 CNN International featured Summers in its ''Art Club'' show as a representative of avant-garde art in the Netherlands. In addition, over the last 20 years, Summers has performed his work at various festivals in Europe and Iceland, including the Reykjavik Art Festival (1991), the Polypoetry Festival of Sound Poetry (Bologna, 1993), and the International Sound Poetry Festival (Bologna, 1997), among others. Summers features among the "second wave" of intermedia artists, the first wave including Dick Higgins, Vito Acconci, John Cage, Allan Kaprow, Joseph Beuys, and the Fluxus artists of the 1960s. He differs from Higgins and members of the first generation, however, in that he is less theoretical and more experiential in his approach to his art. There have been no VEC manifestos published by Summers, although one may intuit what it encompasses by examining the activities undertaken and products issued under its sign. ==As VEC Performer== A typical example of a Summers performance is ''Rain'', the text of which first appeared in the University of Wisconsin–Milwaukee's ''Cream City Review'' in 1983. ::''Rain'' ::''Performed poem with'' ::''prerecorded sound.'' ::''From the sky drop'' ::''100,00 pieces of'' ::''blue paper with'' ::''a word printed'' ::''on each.'' ::''Tape sound multi-'' ::''tracked voice copies'' ::''words.'' ::''Words: Drip, Drop, Splish,'' ::''Splash, Pitter-Patter,'' ::''Drizzle, Plit-Plat.'' ::''Performed at Sur and Hasselt,'' ::''Belgium, on 4 September 1982,'' ::''With Liz Summers and'' ::''Theo van der Aa.'' A photo of Summers in the midst of the performance accompanies this text. We see him clutching an umbrella, dressed in a rain coat, sitting on a folding chair in the middle of a down-pour of paper released from the ceiling of the space. A few on-lookers seem bemused, turning away, while others are clearly caught up in the humor of the piece. Humor is an essential part of many of Summers' performances, albeit the humor of a zen koan, or of the impassive presence of Charlie Chaplin or Buster Keaton. A broader sense of humor, however, is evident in Summers' audio drama, where change of voice, sound effects and unlikely twists of plot clearly show the artist's debt to The Goon Show and Monty Python. The ongoing ''Helgisaga'' project (1985–present) is a good example of this mode of operation. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Rod Summers」の詳細全文を読む スポンサード リンク
|