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as charles baudelaire said, ‘a man who only drinks water is hiding some secret from his fellow men’ and we all know that ‘we cannot go down twice the same river’, heraclitus dixit, thus different paths taken ◊





‘he says we should make our investigation, not by mixing colours as painters do, but by comparing the rays that are reflected’ (derek jarman, in chroma)






◊ ‘the coffins are shut into little lateral caverns, each containing eight or ten bodies. When a year is passed, the coffin is opened and the mummy removed: a hideous, convulsed, bearded mummy which seems to cry aloud as though tormented by unbearable pain’ (guy de maupassant)




◊ ‘in fact, said austerlitz, i have never owned a clock in my life, a bedside watch, let alone a wristwatch. a clock has always struck me as something ridiculous, a thoroughly mendacious object, perhaps because i have always resisted the power of time out of some internal compulsion which i myself have never understood, keeping myself apart from so-called current events in the hope, as i now think that time will not pass away, that i can turn back and go behind it, and there i shall find everything as it once was, or more precisely i shall find that all moments of time ha co-existed simultaneously, in which case none of what history tells us would be true, past events have not yet occurred but are waiting to do so at the moment we think of them, although that, of course, opens up the bleak prospect of ever-lasting misery and never-ending anguish.’ (w.g. sebald, in austerlitz) ◊




this dichotomy between real/false, true/invented, memory/reconstruction is the pillar of the work: the hands that creates bells are the ones who create solidity from the malleable metal; which respond to the call of the created object into churches and monasteries and which live in the drones of indoctrination. the furnace of the creation of bells is the same furnace of the subjugation by the church(es.) the hands that create also kills in name of the religious dominion.









 

 

1. a full length interview with eerohz (benjamin silva-pereira) is here >  

                       with matteo marchisano-adamo, clara rodrigues dos santos               

                                                                                              and wassily blossfeldt.                                                                            

 2.  (music for the rite of) OPHIS > full page > MUSIC ESSAY >

 

 

 

 

e e r o h z :

  

 

 

“please stop saying you are a non-musician. you are as much a musician as anyone i know. but i get it, i get it . . . a “non-musician” . . . semantics. does the bird know the theory of flight? does the fish know the theory hydro-biomechanics? so, what does it matter? call yourself something else – if not a “musician.” but not “non” anything. you are a musician. modern. your instrument? you. in fact you are more: you are an inventor, a composer, a poet of sounds.” matteo marchisano-adamo, 18 january 2013.

 

 

 

   

 

melódico e percussivo 06:20

composed, produced & performed by benjamin silva-pereira & matteo marchisano-adamo ◊ matteo marchisano-adamo: prepared piano, recorded at the nhw studio in burbank (r.i.p.) , ca, usa ◊ benjamin silva-pereira: samples & timpani, recorded @ the naked lizard lounge, london ◊

 

“i very much LOVE it. you seem to be one of the most patient artists with sounds. i think this is very important. you let them be – in a sense – but always showing something new – something underneath, like a pebble on the beach – the backside is just as shinny as the upside. the piece moves, musically, so nicely. you introduce new elements very elegantly – never tiring.” matteo marchisano-adamo

 

 

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 music & film by eerohz  

 

 

> all content (c) + (p) 2013 eerohz / benjamin silva-pereira under exclusive license to the catalogue of wonders (arts)