". . . But the past does not exist independently from the present. Indeed, the past is only past because there is a present, just as I can point to something over there only because I am here. But nothing is inherently over there or here. In that sense, the past has no content. The past -- or more accurately, pastness -- is a position. Thus, in no way can we identify the past as past." p. 15

". . . But we may want to keep in mind that deeds and words are not as distinguishable as often we presume. History does not belong only to its narrators, professional or amateur. While some of us debate what history is or was, others take it into their own hands." p. 153

Silencing the Past: Power and the Production of History (1995) by Michel-Rolph Trouillot

Tuesday, April 15, 2014

Robert Ashley, Whitney Bianniel Performances

Two articles about the performances (in one of which el V is lead, Perfect Lives, in Spanish, Las Vidas Perfectas) published today, in the Wall Street Journal and the New York Times.

Three of Robert Ashley's works are part of this Whitney Biennial.

Though it is mischance, not design or forethought, these are the first posthumous performances of the composer's work. When an artist dies his work is looked at and assessed differently, so these performances -- and their inclusion the Whitney Biennial -- are even more notable for the arc of Bob Ashley's career -- beyond the great desire of the guiding force of  Alex Waterman of these runs -- to, among other objectives, honor the artist that Alex so reveres.
April 8, 2014 11:29 p.m. ET
Extending a Composer's Opera Legacy
Alex Waterman Brings Robert Ashley's Operas to the Whitney BiennialBy Corinne Ramey
APRIL 14, 2014
Critic’s Notebook
Still Sensing the Presence of a Departed ComposerRobert Ashley’s Work Lives On at the Whitney Biennial

The sold-out performances begin Thursday

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