Constantin Luser - Music soothes the savage beast… (en) - a podcast by CastYourArt.com

Constantin Luser - Music soothes the savage beast…

In any case, it tames the wildness of our thinking, which means that when it happens -ever so rarely- the hegemony of the concept is erased and for a moment we are cured of our illness separating us from time - our rationality. When music happens, time does not pass, it expands, accumulates, can not be measured. It is no longer in the clock and enters our blood…

The cure in this case is not overcoming the ailment but seizing it, transforming it into a score. The mystery of the silence that surrounds us -existence itself- lies at the root of the surprise and consolation of the notes which we produce as medicine. It is true that any instrument is fine - if this relationship with the magic of silence is given.

To serve this desire, Constantin Luser offers us an object with an imagined subject.

All components must have their place determined by their function and meaning. The object itself has primacy over its components while the space itself and the place and role allocated to man in it, is a constitutive element of the work and creates new realms of experience.

There is no form without its opposite - they constitute a unity of meaning where the negative is an imprint of the positive: Absence (life), presence (sound) and the will to the structuring and usage of space. And where does it all lead to ? To chaos (????) or to order (??????) ? In other words, order of the world….

The essential key is his personal approach, the current in which he inscribes himself being an intermediator, in order to strike a chord in the collective alterity.

He creates a space, topos, which belongs to an utopía…where the abstract, the absence of sound, is a consequence of the presence of the corpus and a way of reading it. The impossibility of the real, its spirit would otherwise not be conceivable. It could not converge with individual life which is always an incarnation of its abstraction. Whenever we create an open form, it is filled with spirits. This is the faculty of the form: it cannot avoid conjuring up the unshaped.

Without the rupture which the violently new form provokes, we shall not be able to listen to the return of meaning to the cacophony of our existence. Is there anything stranger than our existence? Music is there because the sense of immediacy is literally untranslatable.

Instead of reconstruction, there is construction, there is installation which does not reproduce the visible but instead, makes the invisible visible. The impetus of his work has its starting point in this constructivist core which not only emancipates creation from representation but orientates it towards the creation of space and time through sound, gesture and dramaturgy.

He demarcates the final sense of the forms and directs it towards a vertebration of an animist reality. As a product of its power of shaping the world, the structures do not exist just by themselves but possess the idiosyncrasy of roaming between the merely obvious and the unreal.

In this leap to meet the image, the poetic moment transgresses the merely existing in order to visualize the possible, the virtual: limit and metamorphosis, because finally it is about a shift where from the physical, material limitation of life a metamorphic process comes into being. In a transmutation of the sensible which interrupts the oscillation, the continuous stream of our inner voice… (ca)

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