Through his engagement with the art exhibition, Cage formed a new field of research – the composer as a curator – where the exhibition space adopts sound composition principles, and thereby, alters the concept of exhibition-making.ĪBSTRACT This is a thesis about silence – as aesthetic concept, as rhetorical idea, and as perceptual object. In another movement, the museumcircle, Cage composed a sculptural space which was informed by Erratum Musicale (1913), the first musical work of the French-American artist Marcel Duchamp. Hundreds of artworks, objects, and pieces of ephemera were subjected to a chance-derived computerized score, in which the displayed artworks were referred to only by number, allowing visitors to see in front of them a computer printing out generated changes which in turn were translated to works being hung on the walls and taken down. For example, one of the composition's four movements, the Main Circus, was an ongoing performative event. While many other artists have experimented with the form of an art exhibition, Cage’s project constituted something new: he constructed his exhibition in a manner akin to his musical composition.
The composition, as conceptualized by Cage, was executed after his death in 1992 by MoCA's curator Julie Lazar and travelled between 1993-95 from Los Angeles to Houston, Philadelphia, New York and Mito, Japan. The result was a chance-derived four movement composition for museum entitled Rolywholyover A Circus. In 1989, the Museum of Contemporary Art in Los Angeles (MoCA) invited the American composer and artist John Cage to create a new artwork.
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