Composer and musician, Manfred Werder (Swiss, 1965) wanders cities and countryside to come across with world’s wealth that leaves its trail, in the form of words and references on a sheet of paper and in the form of incidents, constellations, objects, etc.
In this South American tour, Werder performs and presents his newer pieces, 20160 and 20170, in Buenos Aires, Montevideo, Santiago and Valparaíso cities.
In Santiago he exhibited on October 12th, 15th, and 16th.
The proposed activities by Manfred Werder, i.e., the concert, the Academic paper, te drift, the holiday, all of them worked in the suspensión of his inherently limiting frameworks towards encountering as the last space without an objective.
The interview for Arte Al Límite Werder addresses the motifs that he deals with in his compositions.
Is it difficult to launch your works?
If the hard term seems to refer to a prioritizing structure –e.g. commercial music, classic or popular at the same time- so no, it isn’t, because I completely reject every prioritizing aspect in my work. People, with or without experience in music, that look for get close to my paintings are completely free in their approaching to them. However, there are dignity in every pursuit. This dignity is the horizon for me in which art has responsibility, so there I recognize the great difficulty that requires today a specific work.
Do you think that national theaters, above all, must have a fixed percentage in the repertoire for contemporary musicians?
Sincerely, today I rather think the horizon in which doesn’t exist any kind of support, nor particular, nor state-owned. I am with Walter Benjamin when he says, in Das Passagen-Werk, that it would be absurd that we thought modes of existences of the society without classes as of the image of cultural mankind.
Do you prefer alive or recorded music? Why? Or depends on the context?
Alive music can be recorded music and the other way around. Unconditionally unveiled, music needs to touch reality.
Saying that music and ideas happen at the same time is like saying that music is a language, it is almost saying that we can think through music, how true is that for you?
For me it is true that you think through music. However, obviously not only that. Music is not a language, but it generates ideas, without end. These ideas collide with each other and become new, uncontrollable monstrosities, exceeding the limiting propositions of language. Finally reflect the era.
How is the process of creation for you?
I would say that the whole process operate towards find yourself as the last space without an objective.
What social reasons are captured in your creations?
If I had to formulate an explicit objective that I look for in my work, it would be that this work reflects the world. No more, no less, because I recognize all the dignity in the world’s operation. Then, the joint of a well-tempered fifth or the traffic of the base paste coincide in a single plane.
Werder wants to highlight that Nicolás Carrasco Díaz has come along substancially all of his projects in Chile from 2011.