sculptor, theatrical producer, performer
Peter Zegveld is a dutch visual artist, a theatrical producer and an inspirer. Born in The Hague in 1951 and trained at the Dutch Royal Academy of Arts there, he has had a unique approach to theatre for more than twenty years. His productions are expressive, sensual and cinematic. Zegveld uses physical principles – the effects of light, air and gravity – in his theatrical productions and his installations alike. The licence he allows himself and his unconventional attitude let Zegveld wander back and forth between different disciplines, presenting absurdities for viewers to experience and discover. Alongside his own productions for theatres, countless festivals and autonomous art, he has made productions for Orkater, the Amsterdam-based music theatre, and others, and series for Dutch TV. His sculptures has recently been exposed in bog dutch museums like Booijmans Van Beuningen (Rotterdam) and Rijks Museum Twente (Enschede)
O B J E T S O N O R E #1
Installation created by Luc Ex
The horn/sculpture has been designed by dutch sculptor Peter Zegveld.
It’s a monumental loudspeaker designed for public spaces. It will have a build-in speaker and the organic shape of the horn will amplify most of the sounds acoustically. The horn will play a composition by Luc Ex. It is a piece of roughly 10-15 minutes that will exist only by sounds of everyday urban life. No traditional instruments are used.
It are the same sounds we need to produce in order to let our society function. Think of construction work; roller-suitcases rattling on the pavement; slamming car-doors, big lorries pulling up, shouting people on a market. All ‘big city’ sounds.
It is a reflection of our own environment , but than re-organized and ‘re-shaped’ into music. Noise becomes music and vica versa. Objet Sonore will be 7m long and 3.50m high and will be assembled on a long trailer and can be can be set on practically any location. It will be produced in january february 2020 and it will have it’s first perfomances in may 2020 at Moers Jazz Festival. In Amsterdam it will be heard on the OVERIJ-Festival from 10 to 19 july.
To set it up in public places. It creates an awareness of the sounds we actually produce. Also the beauty of it. Most of the people hardly notice the racket we make. A construction site might never sound the same after hearing this piece. Secondly it can be refreshing to listen to a piece of music outside the traditional ‘band on stage’-conditions. Because it is outside the sounds of that square or street will be interfering with the music. That is also the charme of it and will accentuate the intention of the piece. Last but not least it that it might also demonstrates the fine line between the world of sound of that of music. When do we actually call something music mand when does it stays ‘random-noise’
Two small fragments of Objet Sonore #1: