30 aprile 2017

Tra le sue più recenti occasioni di apertura al pubblico l'itinerante Rosenberg Museum - ideato e fondato da Jon Rose attorno alla storia e al lascito della dinastia virtuale dei violinisti Rosenberg, e del suo più esimio esponente Johannes in particolare - va annoverata la partecipazione al Liveworks a Sydney lo scorso autunno. Documenti e testimonianze sono su YT - dove c'è anche qualcosa riguardante una precedente esposizione a Berlino - e al sito dedicato.

The Rosenberg Museum is an obsessive monument to the violin in all its guises; as a musical instrument, as a visual and sonic object, as an iconic cultural artefact, as a symbol of taste, class and power. This institution resists any convenient definition: It could be seen as either a fiction built out of facts, or an actualisation of the manifold virtual possibilities of a string instrument, and though it once nominally resided in the town of Violin, Slovakia, it really inhabits a conceptual rather than a physical space. Fundamentally, the Rosenberg Museum is an expression of its creator Jon Rose's idea of the violin as an unfinished experiment, a counterbalance to conventional attitudes towards what a violin should look and sound like.
The museum houses over 1,000 violin artefacts. Installations of The Rosenberg Museum have been featured all over Europe in its 30 year life, now it's finally home. The museum is the creation of violinist, composer, artist, inventor, writer, Jon Rose and houses a cornucopia of violin iconography - a cabinet of curiosities highlighting violin stories that are musically perverse, historically twisted, or culturally critical. Amongst the collection is featured a robot violin played live by very wealthy Wall Street traders, a player piano transcription of a Las Vegas casino where extremely poor people lose the rest of their money, a bowing machine, an automatic string quartet powered by Robbie Avernaim's SARPS, Cor Fuhler's Keyolin, a plethora of home-made instruments, a musical coffin, a replica of Paganini's penis, the ultimate book of music criticism 'rosenberg 3.1', and violin iconography that is profound, humorous, bent, and often transgressively challenging. The museum also celebrates a retrospective look at three Jon Rose projects - the world renouned Great Fences of Australia, The Pursuit Project, and The Relative Violins including a reconstruction of the triple neck wheeling violin.