Sound and line in dialogue: The gesture as an epistemic instrument

Mateusz Pawel Kaminski's interdisciplinary project brings together Mieczysław Weinberg's "24 Preludes for Solo Cello (Op. 100)" and Ulrich Binder's sketchbook "plume sans fin" in an audiovisual performance. At its heart lies the radically reduced gesture—the bow stroke on the string and the pen stroke on paper. Both artists employ maximum formal limitation as a means of expression, as a highly sensitive tool for perception. While Weinberg's music responds with uncensored, aphoristic directness to the existential reality of his era, Binder's projected, unintentional lines map the physical resistance of the material and the pure presence of the moment. Bow and pen function here equally as seismographic media, recording fleeting moments.

In the live setting, acoustic and visual elements merge into a shared exploration of the world's structures. The cello's fragmentary, often raw rhythms and nuances correspond directly with the projection of minimalist drawings, which are far more than a static stage set. A reciprocal process of translation emerges, in which the physicality of the music-making and the physicality of the drawing intertwine. The unaccompanied instrument and the reduced line eschew any mimetic representation or decorative distraction. Instead, they demand a focused perception that makes the genesis of sound and structure tangible in the present moment.