Art@Site Brian Eno 77 Million Paintings Rio de Janeiro

Brian Eno


77 Million Paintings

Lapa Arches
Eno prefers to think of this approach as the musical equivalent of gardening. 'I came up with this term, 'generative music' which is essentially the idea that one is making a kind of music in the way that one might make a garden '¦ carefully constructing seeds, or finding seeds, planting them and then letting them have their life '¦ in fact, I'm deliberately constructing systems that will put me in the same position as any other member of the audience. I want to be surprised by it as well. What this means, really, is a rethinking of one's own position as a creator. You stop thinking of the situation as me, the controller, you the audience, and you start thinking of all of us as the audience, all of us as people enjoying the garden together. Gardener included.'
Eno's aim with 77 Million Paintings seems to be to bring that traffic to a halt. For the Rio installation, he created many new designs with extra details. He also mixinto the existing ambient 'music-scape' live in response to the noise of the city. The captivating light and movement aimed to arrest the viewer and immerse them in an ambient atmosphere. The slow motions and changes of the work must be taken in slowly; they cannot be simply glanced at or they might be missed. Eno certainly succeeded in arresting the viewer. The crowd that gathered to watch the performance was so transfixed that they stayed even through a rainstorm. The audience also remained with the work because of its participatory nature. By using the light and their bodies to cast shadows on the arches, they embedded themselves in the work and interacted with the Arches in a way they may never have been able to otherwise.
The installation at the Lapa Arches gives 77 Million Paintings a new and interesting context. On one hand, the Arches, so old and steeped in history and culture, contrast nicely with this spectacular display of new media and technology. On the other hand, both elements representan-made technological advancement''one old and one new, but both cutting-edge for their time. Eno sees his work in relation to the history of painting, not that of video art, and so it is fitting for the work to be paired with a historically rich setting.
Source: Shanghai Academy of Fine Arts.
The audiovisual work 77 Million Paintings by Brian Eno was installed in Rio de Janeiro, Brazil, on October 19-21, 2012. The work was selected as one of six public artworks for Other Ideas For Rio, a biannual art event that will culminate in the 2016 Olympic Games. The work consists of a video and sound work projected on the Arcos Da Lapa (Lapa Arches).
77 Million Paintings was originally produced as a video and software work in 2006. It contains music and approximately 300 abstract, original digital artworks, all of which are cycled through randomly, thus creating a seemingly endless display of light, color, and sound. The piece can be bought for individual use, and h been exhibited in various configurations at galleries and art and technology centers worldwide. It has also been installed in iconic public spaces before, most notably the Sydney Opera House in 2009. It is an ever-changing spectacle, never the same twice, and Eno adds new content often. He refers to his work as 'video painting.'
The 2012 version of 77 Million Paintings was installed at Lapa Arches for a short duration''October 19-21, 2012. The Lapa Arches are part of the Carioca Aqueduct, an eighteenth-century relic that runs through the middle of the city and now serves as a bridge for the only remaining active tram line. The area surrounding the Arches could be considered old and run-down, but it is also culturally rich, with a lively live music and nightclub scene. It is a bustling place, with plenty of sound and traffic.
Eno is perhaps most well-known for his contributions as an ambient musician and for his work with pop music artists such as U2 and Co, for whom he creates concert lightscapes, but he also works as an artist.