René Bertholo, 2002.
O futuro começou há muito tempo. Gostaria de convidar o René, lá do éter para onde partiu em 2005, a regressar, se não em corpo, em obra. Um artista e uma obra virtual que acabo de incluir no The New Art Fest ’17. Bem-vindo René!
René Bertholo, “Um Argentino no Deserto”, CD
Edição: Sirr Records, 2002
“Rene Bertholo was born in Portugal in 1935. As a visual artist in the 1960s he was associated with the KWY group, whose hand-crafted limited edition magazines blended experimentalism and offbeat humor, and there’s a little of each in “Um Argentino no Deserto”, his debut album (at age 66!). Since the mid 70s the artist has been building his own programmable synthesizers (“makinas”), which, if the photograph is anything to go by, is now a large assemblage of gadgetry including two 8-octave 2/3 voice “melodic units”, a mini-sampler which plays bird song, frog croaks and other “sounds of nature”, and some “percussion instruments”. It seems pretty primitive, and so does the music it produces (Bertholo has wisely written himself an escape clause, calling it “Mosik”, since he apparently has “doubts as to whether the sounds could be described as music..”). Some of it sounds like the weird customized lo-budget electronics used by the stranger post-Punk groups (Père Ubu’s Allen Ravenstine comes to mind), but without the input of live musicians (not unsurprisingly, the most interesting pieces are those which involve some collaboration) what little sonic novelty there is soon wears off. There are hundreds of bright young laptop whizkids out there doing better stuff than this. Of course, they didn’t build their Powerbooks themselves from plastic baby rattles and elastic bands, but that’s hardly the point: if instruments themselves are now supposed to be more interesting than the music they’re capable of producing, it’s a pretty sorry situation.”