All these performances have their origins in a common principle: to enrich the monochromatic experience, making it into something erotic, Dionysian, by establishing a connection between sound and color that may be uneven, random, and yet contribute to the performance experience.
The Green Monochrome has its origins in João Ferro Martins’s wish to destroy his old drum set in the fashion of a cult and Hugo Canoilas background in monochromatic work. Canoilas chose the colour green because of its passivity and established a relationship between opposites since Ferro Martins’s jam session was extremely powerful, more in to thrash or punk.
The Pink Monochrome was the first one to remain as an installation and also included the decision to include an electric guitar by João Cabaço. This contributed to greater complexity in the improvised music.
For Yellow Monochrome, at Nam June Paik Art Center in South Korea, A Kills B had been reading Kandinsky’s The Yellow Sound and chose this as the colour for the piece. For this event two Seoul-based musicians, PARK Seungjun – a noise musician on the electric guitar, and LEE Taeyoon on the bass guitar - were also invited to participate. This time everyone rehearsed more than usual and the context was more institutional. The installation was less precarious and an additional layer of paint was even added to cover all the objects more evenly and confer a more formal aspect to the compositions made of shapes and lines, some created by chance or due to the functionality of the action. The final purpose is to allow the public to go inside the installation.
Red Monochrome (video from the performance), 2013
HD PAL, 43'48'', colour, sound
With: Laurent Prexl (electric guitar), Jerome Pierrejean (electric guitar), Chloé Labaye (drums and percurssion), Maxime Gil (drums and percurssion), João Ferro Martins (electric bass and mp3 player) and Hugo Canoilas (airless paint spray gun).
Performance recorded live at Palais de Tokyo, Paris, June 2013.