R. Weis, in collaboration with photographer Arthur Tress, created the sound for Requiem for a Paperweight that has been presented in installation form along with the physical photographs (view installation shots http://www.rweis.com/rweis/requiem.html), and as a two-projector slide show, originally at University Art Museum, California State University Long Beach. It has since traveled to The Bridgewater/Lustberg Gallery in NYC, to German museums including The Ludwig Forum – Stadt Aachen, and in slide-show form at the 1994 CMJ Music Marathon in NYC. The sound score for Requiem for a Paperweight was also heard as part of Arthur Tress’ retrospective “Fantastic Voyage, Photographs 1956-2000” at The Corcoran Gallery of Art in Washington, DC.
“…a richly textured, haunting vision of life in the future…a dazzling morality play, its hero, the Everyman of late-20th-century corporate life. A stereotypically overworked, anonymous cog in the Japanese business machine, the protagonist exists in a high-tech, migraine-inducing netherworld of garish neon color, charts and lab equipment, glossy ads, and business statistics. Haunted by shadowy memories of family and childhood and elusive promises of health and happiness, he faces a future in which bankruptcy, unemployment, and forced retirement are the preludes to his own cosmic apotheosis in death. His desperate search for meaning is met only with shiny, deceptive dreams.
“Enhanced by the score of composer R. Weis, who works with language and manipulated sound, the installation format works brilliantly for Tress. The dark-painted walls and vivid light reinforce the impression that we are witnessing, as in a medieval chapel, a kind of contemporary morality play.” Peter Clothier , ArtNews, 3/95
Requiem for a Paperweight Part One
Read the full article by Marie Kazalia, at: