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Posted On: May 23rd 2026, 12:50 pm
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[NOW OPEN] Augustin Katz & William Basinski → Unentitled (study for a room)
Curated by Guillaume Blanc-Marianne
May 20th - June 20th, 2026
Galerie Derouillon, Haut Marais - 38 rue Notre Dame de Nazareth, 75003 Paris
‘’There are melodies that seem to weep — mournful musics, essentially, worn thin by the extension of cruelty. One such melody opens on a long crescendo and exhausts itself in an equally long decrescendo, as though something were advancing inexorably, slowly loosening the "enormous congestion of feeling" that weighs it down. Mired in the very substance of air, it will succumb at last to dissipation, with no one knowing how to hold it back. This melody speaks of the liquidity of memory and chimes like a wound; it moves by the pneumatic of mirages, and tells of solitude upon the stage of tragedy; the feverish flicker of a single light and the depth of velvet, the smallest possible tremor in the earth and the collapse of an entire world.
William Basinski found it at the bottom of a drawer, where it had been sleeping since 1982, and named it Unentitled: unassigned, unfounded — illegitimate, in a sense. […]
Augustin Katz, for his part, went rummaging through his dreams to give this melody a stage — to parade it through a space where spectacle becomes ritual and the script of the tragic yields to the magic of ceremony. The stage, and by extension the theater, is a place of rite, sacrifice, renunciation, catharsis. It is a place of cruelty and jubilation, one that has never quite shed the prospect of killing as it was once lived out in ancient arenas. […]’’
Excerpt from Unentitled (study for a room) by Guillaume Blanc-Marianne
@augustinkatz_ @maculabulligen @musex1
Curated by Guillaume Blanc-Marianne
May 20th - June 20th, 2026
Galerie Derouillon, Haut Marais - 38 rue Notre Dame de Nazareth, 75003 Paris
‘’There are melodies that seem to weep — mournful musics, essentially, worn thin by the extension of cruelty. One such melody opens on a long crescendo and exhausts itself in an equally long decrescendo, as though something were advancing inexorably, slowly loosening the "enormous congestion of feeling" that weighs it down. Mired in the very substance of air, it will succumb at last to dissipation, with no one knowing how to hold it back. This melody speaks of the liquidity of memory and chimes like a wound; it moves by the pneumatic of mirages, and tells of solitude upon the stage of tragedy; the feverish flicker of a single light and the depth of velvet, the smallest possible tremor in the earth and the collapse of an entire world.
William Basinski found it at the bottom of a drawer, where it had been sleeping since 1982, and named it Unentitled: unassigned, unfounded — illegitimate, in a sense. […]
Augustin Katz, for his part, went rummaging through his dreams to give this melody a stage — to parade it through a space where spectacle becomes ritual and the script of the tragic yields to the magic of ceremony. The stage, and by extension the theater, is a place of rite, sacrifice, renunciation, catharsis. It is a place of cruelty and jubilation, one that has never quite shed the prospect of killing as it was once lived out in ancient arenas. […]’’
Excerpt from Unentitled (study for a room) by Guillaume Blanc-Marianne
@augustinkatz_ @maculabulligen @musex1
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