Danius Kesminas and The Histrionics
COVER - Reencenação + Repetição
Curated by Fernando Oliva
Museu de Arte Moderna, MAM, De Sao Paulo, Brazil
9 October - 21 December 2008
Photo by Rochelle Costi
COVER - Reencenação + Repetição 2008 (installation view)
Contemporary art has been experimenting with interactions with the music field, facilitated by the increased access to the market of sound and image technologies both by artists and the public. Through inviting curator Fernando Oliva to conceive an exhibition about this aspect of current productions, Museu de Arte Moderna de Sao Paulo presents COVER - Reencenação + Repetição, with works that reflect re-enactment conditions through the practice of imitating other bands in music.
Felipe Chaimovich - Curator of Museu de Arte Moderna de Sao Paulo
Artist, Danius Kesminas, put together his band, The Histrionics, in order to cause disruptions both in the music universe and the contemporary art system. His band performs versions of popular international rock and pop classics, with lyrics created by him. These new superimposed narratives are critic ironic texts related to official stands, well known artists, financing systems and whatever goes on behind the scenes in the art world. His work happens both through live performances, as concerts, and through video exhibition, in which his lyrics are 'scrolled' on the screen, just like karaoke (thus inviting willing visitors to take part in the work). Sometimes, these texts become animations alluding to historic genres and styles, such as Nam June Paik's televisive distortions. At COVER, we see Never mind the Pollock's: here's the Histrionics and Museum Fatigue. Among the band's songs, Pad Thai takeaway, a 'critical praise' to the work of artist Rirkrit Tiravanija, who used to cook and serve Thai meals during his exhibitions, as well as songs making parodies with Andy Warhol, On Kawara and other celebrities in the arts field.
Fernando Oliva - Curator
(From: COVER - Reencenação + Repetição, catalogue, Museu de Arte Moderna, MAM, Sao Paulo, 2008.)