L’Homme De Pekin (1982) by Daniel Dion, Claude Vivier, and Philippe Poloni
L’Homme De Pekin (1982) (18:00) (Montreal)
by Daniel Dion, Claude Vivier, and Philippe Poloni
To the lament of his parents, an artist escapes the responsibilities of straight society. Through playful impromptu performance this tape confronts the polarities inherent in the artist’s interaction with society’s morals and conventions. A hommage to the primal nature in all of us.
*Digitized from 3/4″
Born in 1958 in Montreal, Quebec, Daniel Dion studied Communications at Université du Québec à Montréal. Dion worked with photography, video, performance and installation. He combined his passion for art, spirituality and technology with the surrounding environment. Along with Su Schnee, Dion he co-founded OBORO, a Montreal-based multidisciplinary exhibition and production centre for contemporary art and new media. Dion had solo exhibitions at the Centre international d’art contemporain de Montréal, the Musée d’art contemporain de Montréal, the National Gallery of Canada (Ottawa), and the Vancouver Art Gallery. He also exhibited across Europe and Asia and was involved in cross-cultural art exchanges in India, Cuba and Japan.
Many consider Claude Vivier the greatest composer Canada has yet produced. At the age of 34, he was the victim of a shocking murder, leaving behind some 49 compositions in a wide range of genres, including opera, orchestral works, and chamber pieces. György Ligeti once called Vivier “the finest French composer of his generation.” Born in Montréal, Vivier studied at the Conservatoire de Musique. In the fall of 1976 a visit to Bali caused Vivier to reevaluate his ideas concerning the role of the artist in society, initiating a new period in his stylistic evolution. In the wake of this journey he wrote Shiraz (1977) for piano, Orion (1979) for orchestra, and his opera Kopernikus (1978–79). Above all, it was in his cycle of pieces for voice and instrumental ensemble, particularly Lonely Child (1980) and Prologue pour un Marco Polo (1981) that Vivier’s unique style crystallized. In a New York Times profile, Paul Griffiths observed, “The harmonic auras are suddenly more complex, and the fantastic orchestration is unlike anything in Vivier’s earlier music, or anyone else’s…”.
Philippe Poloni was born in Italy. He studied visual arts and literature in Montreal and New York. His work has been shown in Canada, the United States, and Europe.