Uniting John Cages influential practice as a composer and visual artist, Galerie Thaddaeus Ropac London
is presenting an installation devoted to his celebrated Ryoanji series from the early 1980s, inspired by the rock garden at Ryōan-ji (Temple of the Peaceful Dragon), a Zen Buddhist temple that Cage first visited in Kyoto, Japan in 1962. This installation of 11 Ryoanji drawings and 15 recordings of his Ryoanji compositions for various instruments focuses on how Cage expressed his ideas and the gardens sensibility in both his audio and visual interpretations. The accompanying exhibition catalogue John Cage and Ryoanji includes Cages writing on Ryoanji, an interview with him, a selection of his manuscripts and scores for the series and a new essay by the leading writer on Cage, James Pritchett. Curated by Julia Peyton-Jones in collaboration with the John Cage Trust, the show is concurrent with the gallerys exhibition Robert Rauschenberg: Spreads, 1975-83.
This exhibition provides a fascinating insight into the mind and practice of John Cage. Its focus on what the Ryōan-ji Zen Garden meant to Cage as a philosophical idea brings to light how he interpreted this sensibility in both his drawings and music. The accompanying publication explores the fascinating processes that Cage used to transform the most simple of materials―stones, pencils, paper―into some of the most captivating and unique music of all time. Laura Kuhn, Founding Trustee and Executive Director of the John Cage Trust
Beyond illuminating the artistic dialogue between longstanding friends and collaborators Robert Rauschenberg and John Cage, this exhibition of Cages remarkable Ryoanji series is above all an exquisite demonstration of how his artistic process makes the abstract tangible. With these compositions and drawings, Cage created a body of work with a tangible sense of the miraculous in the form of some of the most beautiful music of our time and a series of drawings, noted by the renowned art critic David Sylvester to be among the most beautiful prints and drawings made anywhere in the 1980s. Julia Peyton-Jones, Global Director of Special Projects, Galerie Thaddaeus Ropac
In 1982, when Cage was commissioned to design the cover for a book to be published by Editions Ryôan-ji, he selected paper with the same proportions as the garden, placed a stone on it, then drew a pencil outline around it. The selection of 15 stones, the grade of the pencils he selected and their placement on the page were determined by chance operations for each drawing. Repeated, this process resulted in a scale of densities of lines and curves according to the variety of stones and different pencils selected. In total Cage created 170 drawings on the subject of Ryoanji, 11 of which are displayed in this exhibition.
The method of these drawings provides an immediate, simple connection to the Ryoanji rock garden, explains James Pritchett in his essay for the exhibition catalogue. Taken as a series, Cages Ryoanji drawings are a concrete demonstration of the insight of his story about the garden: the emptiness of the space can indeed support stones at any points in it. Yet of deeper significance than the stones themselves and their particular arrangement in the Ryoanji garden is the conception of the empty space from which all things arise: All of what you see and hear in this room is really the product of the empty space, the silent duration of time. We are witnessing Cages realisation that if a space can be made truly empty―empty of our preconceptions, our beliefs, our narratives, our habits―everything can be discovered within it. These drawings and these musical compositions are gateways to that empty, silent space.
The selection of 15 Ryoanji compositions included in the installation is being played in a chance-determined sequence. Departing from the prescriptions of conventional musical notation, Cages innovations were founded on the principle of indeterminacy. He developed processes of chance-controlled creation, consulting the coin oracle of the I Ching and later computer-generating randomised numbers, reducing the subjective aspects of both composition and performance.
CAGE AND RAUSCHENBERG
Widely considered the most influential composer of our time, Cages inventive and unorthodox approach revolutionised contemporary music and his influence extended across a range of artistic spheres, encompassing visual art and dance. He was central to New York avant-garde circles, together with his partner the choreographer Merce Cunningham, forging close friendships with artists including Jasper Johns and Robert Rauschenberg. Cages most enduring and notorious composition, the radical 4′33′′ of 1952, in which the performer is instructed not to play their instrument, was inspired by Rauschenbergs monochrome White Paintings (1951). Rauschenberg famously stated that he sought to work in the gap between art and life, a concept made manifest by his incorporation of found objects into his works. In an analogous way, Cages compositions drew upon the world around him. He used found objects in his compositions for prepared piano, which entailed placing a variety of household items on the instruments strings, while 4′33′′ heightens attentiveness to the ambient noise of ones environment, breaking down the customary distinctions between musical and non-musical sound.