Edited by Lawrence Kumpf with Joe Bucciero and Mark Harwood. Contributors include Henning Christiansen, Thomas Groetz, Diedrich Diederichsen, Dick Higgins, Lars Morell, Per Kirkeby, Bjørn Nørgaard, Helmer Nørgaard, Thorbjørn Reuter Christiansen, Anton Lukoszevieze, Hans-Jørgen Nielsen, Michael Glasmeier, Ute Wasser- mann, Stíne Janvin Motland, Mark Harwood, Lucy Railton, Graham Lambkin, Áine ODwyer, Lia Mazzari, Ursula Reuter Christiansen, Francesco Conz, and Emily Harvey.
The third issue of Blank Forms journal is released in conjunction with Freedom is Around the Corner, a retrospective exhibition and performance series devoted to the work of pioneering Danish composer and artist Henning Christiansen (19322008).
Perhaps best known for his collaborations and artistic affinities with notable artists such as Joseph Beuys and Fluxus members like Nam June Paik and Dick Higgins, Christiansen, who worked primarily on the remote Danish island of Møn, moved beyond his Fluxus roots to create a vast, often ineffable body of work that spanned music, performance, film, and visual art over the course of a fifty-year career. Yet Christiansens work has remained under the radar, even in the ten years following his death: only a few of his recordings were available until recently, and his prolific compositional and visual outputs have rarely been performed or exhibited in the United States. Freedom is Around the Cornerthe exhibition, the performance series, and the journalseeks to present Christiansens life and work in a holistic manner that befits his dynamic practice.
Like previous issues of the Blank Forms journal, Freedom is Around the Corner collects a combination of newly discovered, never-before published, and newly translated materials; in this case, many of the materials were found in the Henning Christiansen Archive during the exhibitions curatorial process. The issue begins with the first of four newly translated interviews with Christiansen himself, conducted circa 2006 by the German writer Thomas Groetz. Two others, conducted by Francesco Conz and Michael Glasmeier in the 1990s, come later in the issue; together these three interviews, which had only existed as audio recordings before, offer a well-rounded picture of the late-career Christiansen through his own, good-humored lens.
The fourth interview, a more experimental text conducted by Helmer Nørgaard, was originally published in Danish in the magazine DMT, in a 1986/87 issue devoted to Christiansen. In this issue weve created a translated facsimile of that DMT issue, which also featured texts on Christiansen by his prominent Danish collaborators, the writer Lars Morell and the artists Per Kirkeby and Bjørn Nørgaard. We hear from other Christiansen collaborators through correspondenceincluding in transcribed letters from Emily Harvey and Dick Higgins, whose messages to and from Christiansen were recently discovered in the Archiveand through interviews, including newly conducted interviews with his wife and longtime collaborator, Ursula Reuter Christiansen; Bjorn Nørgaard, who spoke with Christiansens son Thorbjørn Reuter Christiansen; and later musical collaborators Werner Durand and Ute Wassermann.
Except Nørgaard, these collaborators will all speak or perform as part of the Freedom is Around the Corner programming; a section of this issue features many of the other performers as well, younger artists who have grappled with Christiansens legacy. Represented through interviews (Lucy Railton), original artworks (Graham Lambkin, Áine ODwyer, Stíne Janvin), and essays (Mark Harwood, Anton Lukoszevieze of Apartment House), these artists demonstrate the lasting and diverse impact of Christiansens work on todays musical landscape. Lukoszeviezes essay introduces a newly translated libretto for Dejligt vejr i dag, nest-ce pas, Ibsen, a 1964 opera with music by Christiansen and libretto by Hans-Jørgen Nielsen which Apartment House, commissioned by Blank Forms, will perform twice during the run of the exhibition.
Taken togetherand even more, in conjunction with the exhibition and performancesthe texts in this journal provide an in-depth look, previously unavailable, especially in the United States, at a towering but overlooked figure in the postwar musical as well as artistic avant-garde. Support for Freedom is Around the Corner comes from the Nordic Culture Point, the Nordic Culture Fund, Snyk, the Danish Arts Foundation, the Royal Norwegian Consulate, Goethe-Institut, the Danish Consulate General, Music Norway, and Ultima Contemporary Music Festival.