After five successful months the NA exhibition with work by Christian Boltanski is drawing to a close. Boltanski created a new composite work for the Oude Kerk and placed monumental installations in order to speculate about what might happen after our lives come to an end.
The exhibition will be fittingly concluded with a work that composer Franck Krawczyk has specially devised. An adapted version of his ‘walking concert’ will be staged on the evening of 29 April, offering the public a final opportunity to wander through this substantial exhibition. Thirteen cellists repeat a relay piece four times; their performances are alternated with solos by soprano Klaartje van Velthoven and two compositions for vocal ensembles. Visitors wandering through the church themselves decide on their attitude to sound. It is a spectacular conclusion of a much-discussed exhibition. For tickets, click here
Musical omnivore Franck Krawczyk skillfully fuses material from composers of old and his own work together. For the Christian Boltanski exhibition, he composed a diptych: VOOR – NA. VOOR was played on 6 April, 8 a.m. as part of the concert series Silence. NA once again centres on Krawczyk’s composition Lamento, which is played four times. The concluding piece is Liebestod, the end to Wagner’s opera Tristan und Isolde, in which Isolde mourns her dead husband.
French composer Franck Krawczyk has been collaborating for many years with artist Christian Boltanski on, among other things, his exhibition Monumenta at the Grand Palais (2010) and at the Venice Biennale (2011). In 2016, his composition Après premiered, written on behalf of the New York Philharmonic on the recommendation of composer Henri Dutilleux. In 2011, Dutilleux decided to share the prestigious Marie-Josée Kravis Prize for New Music with three other composers: Anthony Cheung, Peter Eötvös and Franck Krawczyk. In the Netherlands, Krawczyk could already be heard at the Holland Festival, in collaboration with ICK/Emio Greco and Pieter C. Scholten.
Franck Krawczyk – composition, accordeon
Klaartje van Veldhoven – soprano
Elsbeth Gerritsen – alt
Arnout Lems – bas
Tjakina Oosting – solo cello
Cassandra Luckhardt, Anne Korff de Gidts, Magrita Rondeel, Jur de Vries – cello
The cello section of the Amsterdams Studenten Orkest Jan Pieterszoon Sweelinck
Fascinated by collective memory, transience and the passing of time, Christian Boltanski (Paris, 1944) developed an impressive collection of sculptures, films and installations that deal with these subjects, either directly or indirectly. Boltanski very often uses found items, like in No Man’s Land (Drill Hall, New York 2010), an enormous mountain of worn clothes with the soundtrack of thousands of human beating hearts in the background, that accentuate the anonymity and destiny of human existence. Boltanski created Les Archives du Coeur, an auditory collection of human heartbeats in Naoshima (Japan), and he created various pieces for the Biennial in Venice, like the installation Chance in 2011, and received numerous national and international awards for his oeuvre. His work is part of the collection of the most prominent museums, among which MoMA, The Museum of Modern Art, New York, USA; The Tate Collection, London, England; and in the Netherlands de Pont, Tilburg. His most recent solo exhibition was in this museum in 1996.