Trio Exvoco Of Stuttgart

Museum of Contemporary Art, Chicago (MCA Chicago)

The Trio Exvoco performance, part of a Contemporary Concerts series, has both Futurist and Dada inspiration. Displayed typographical arrangements act as scores for three singers, three slide projectors, and an electronics man with elaborate technical equipment for recording and altering sound. Dada poster and sound poems and Futurist simultaneous poems are intermingled with contemporary work that carries out similar ideas.

For example, Mauricio Kagel’s Hallelujah (1969) concentrates on pure sound, with no sustained development, no linear sequence. Voices wobble, simper, and toot, approximating “words in freedom,” which Marinetti advocated in a 1912 manifesto calling for an end to syntax. Paul de Vree’s Audiovisual Poems (1962), which are slide-projected as letter patterns, also recall Marinetti’s call for visual parallels to the sound experience. De Vree’s Vertigo Gli is divided into

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