The Leica exhibition of photographs by the composer Pascal Dusapin at the foyer of the Haus für Mozart/Felsenreitschule is on display from 23 July to 31 August 2019

(SF, 27 July 2019) A snow-covered bench by a lake, a structure in which shadows are fragmented, or the hind legs of a dog on wet cobblestones: the interplay of light and shadow, architecture and nature is the focus of photographs by the composer Pascal Dusapin.

He is a literary man of music and at the same time a photographic artist, says Artistic Director Markus Hinterhäuser at the opening of Pascal Dusapin’s exhibition Accords Photographiques. “It is rare that an artist has mastered a second metier so profoundly,” he says. “I consider Pascal Dusapin a major composer of our times.”

Thus, he has dedicated an entire series in this year’s concert programme to him. However, he is no less interested in the composer’s photographs, so last autumn he flew to Paris at short notice, finding everything he loves at Dusapin’s studio: music, literature, photography.

Hinterhäuser describes photography as a mass phenomenon of our times. Everyone is continuously taking photographs of everything they see – which has nothing to do with art. Photography is about the photographer’s eye and about a manner of perceiving the world. “In Dusapin’s photographs, I also see elements of his music and elements of his teacher, Iannis Xenakis,” the Festival’s Artistic Director says.

When Karin Rehn-Kaufmann, the Art Director of Leica Galleries International, heard of the idea of showing the composer’s analogue photographs in Salzburg, she immediately agreed. She also visited Dusapin at his Paris studio and was amazed to see his scores. Just like his photographs, all the scores were created analogously – “in an incredible handwriting, drawn in India ink,” she says.

Composing takes him into a world apart, says Pascal Dusapin, so photography is something that can bring him back to reality. “To me, taking photographs comes very naturally,” he says. Whenever he is traveling, he takes his analogous Leica camera, using it “to express something which sometimes even music cannot express.” He cannot draw any parallels between his music and the photographs.

However, he thinks the approach is similar, as the decisive element is focus. In photography, he can determine whether an element in the background or the foreground is the centre of attention. In composition, he can also decide whether to emphasize individual instruments. Dusapin’s photographs are about light, about nature – he never produces portraits of human beings.

The exhibition consists of two parts. One can be seen at the foyer of the Haus für Mozart and the Felsenreitschule; the other is on view at the Leica-Galerie in Parsch. All exhibited works are also available for purchase in a limited edition.


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