Place-maker
Robert Hammond
Composer
Lisa Bielawa
Robert Hammond, co-founder of Friends of the High Line, reached out to Kristin Jones in 2006 when he became interested in the parallels between NYC’s reclamation of the High Line and the potential transformation of the Tiber River. While discussing the High Line Competition and the possibility of a similar competition in Rome, they discovered a shared inspiration: William Whyte’s studies in “The Social Life of Small Urban Spaces.” The studies reveal that one of the most successful tools for creating vibrant public space is the use of movable chairs. Among Whyte’s most memorable findings was the fact that people are more likely to engage with public spaces when they have the option to control where and how they sit within a given location.
In 2010, after multiple conversations with Jones, Hammond chose to perform an experiment. Drawing from Whyte’s work, he placed 100 movable park chairs on Piazza Tevere and observed the results. Beginning in early May, Hammond experimented with chair placement, documenting through time-lapse photography and video how people interacted with and used the chairs.
Hammond later invited composer Lisa Bielawa to collaborate by transposing her musical composition Chance Encounter to the Piazza Tevere site, a work written expressly for performance in transient public spaces. The immersive sound work is structured to unfold dramatically around an unsuspecting public as a chamber orchestra arrives from across the city, and is designed to break down the conventions of concert music. The work’s sung libretto is comprised of utterances that Bielawa overheard in transient public spaces around the world, and was performed by soprano Susan Narucki with New York’s Brooklyn Rider String Quartet and the local Blue Chamber Orchestra.
Chance Encounter on the Tiber is a potent example of how artists can affect the life of public spaces. Hammond and Bielawa have turned the notion of urban planning inside out, inviting the public within the process in this playful, yet directed, interactive experiment on the Tiber.
Two preview performances of the project were presented at MAXXI (Museo nazionale delle arti del XXI secolo) as part of the museum’s opening celebration weekend. In August of that year, as an exhibitor in the Italian Pavilion of the Venice Architecture Biennale, Kristin Jones brought Chance Encounter as a featured event to the exhibition’s opening program.
Composed for world-renowned soprano Susan Narucki and twelve instruments, the work’s sung libretto is comprised entirely of utterances that Bielawa overheard over the course of a full year of travel in transient public spaces around the world – Rome, Taipei, Anchorage, Salzburg, Dallas, and beyond.
Topos Nostalgia
They never plant trees on this street, and if they do they’re dead
within a week.
I used to live on this street, but everything is gone.
Do you ever go to your old apartment?
Where are all the things that I remember?
Remember? It was snowing horribly, and she was holding the
dog?
Your old neighborhood, right? You always go back.
I used to live on this street.
We used to have a house there, but my father lost his job.
I never go there now.
There were rowers on the river, and we walked.
What kind of place are you looking for?
Do you have friends here from home?
Remember these? Remember them?
Drama/Self-Pity
No, no, no – you just can’t get there at this time of day.
You’ve missed the last train.
I just can’t wait any longer; I’m starving to death.
It’s not my problem.
How come we’re not moving?
Like I said, I try not to complain.
They used to give you a paper bag with a sandwich and an
apple, and that was the
beginning of the end.
If we were in India right now, we’d be sinking.
Do you solve everything by crying?
That would be worse than you not caring.
Always on the weekends the trains are screwed up.
I’m always on the wrong side.
It’s not my fault.
I missed the announcement.
Oh no!
People don’t know what we went through. People today just
don’t understand.
Nothing
You don’t know me.
I’ve never been here before.
I might be doing scientific things.
I was asleep when we took off.
I won’t be staying long.
I’m about to go back underground.
It doesn’t matter.
I was asleep when we took off.
I have done nothing. Nothing has happened, nothing will happen.
As much as things change, they really don’t.
Are you by yourself?
You’re sitting there looking at people like you cannot understand.
Where you want to get to has to be more desirable than where you are.
What do I keep on saying? What do I keep on saying?
I have done nothing. Nothing has happened, nothing will happen.
You don’t know me.
Aimlessness Song
Where are we? Is this the right way?
Where’s the guy with the directions?
This is East. You want to go West.
Where’s the guy with the directions?
Maybe we should all relocate.
Do you know how many blocks it is from here?
Ten blocks seems like a journey to me now.
You’ve missed the last train.
I think I should take a day off.
I already waited in this line.
I hope they know what they’re doing.
It’s on my desk, waiting to be signed.
Where are we?
Now we’re gonna miss the movie.
Maybe they missed their connection.
So then I was back in line and now I’ve been rerouted.
Do you need an appointment or can you just walk in?
I thought of five hundred ways not to make this trip.
We both headed for the same guy.
He thought we were talking German.
We gotta move around a lot. That’s how it is in the resistance.
We need to know where the party is.
No one had any idea what I was talking about.
I don’t remember where this conversation was going.
I don’t do anything to it – it just comes out like this.
I’m trying to catch my breath.
I hope they know what they’re doing.
I found a place where we can sit together.
Place-maker
Robert Hammond
Composer
Lisa Bielawa
Soloist
Susan Narucki
Artistic Director
Kristin Jones
MUSICIANS
Brooklyn Rider String Quartet, featuring:
Johnny Gandelsman and Colin Jacobsen Violin
Nicholas Cords Viola
Eric Jacobsen Cello
Blue Chamber Orchestra, featuring:
Enrico Blatti Concert Master
Rossella Montanari and Miriam De Vero Flute
Raffaele Covello Clarinet
Giovanni Cretoni Oboe
Andrea Camilli and Francesco Catania Trumpet
Remo Izz Cornet
Luigino Leonardi Trombone
Assistant to the Artistic Director
Diane Roehm
Public Relations
Italy: Sara Resnati (Otto)
USA: Christina Jensen (Christina Jensen PR)
Graphic and Web Design
Pino Fortunato and Angelo Marinelli (Fortunato Productions)
Catalogue
Chance Encounter
Technical Consultants
Step s.r.l
Intern
Nathalie Sienkiewicz
Special Thanks
Lisa Lowenstein, Carlo Ducci, Andrea Canapa, and Sandra Carraro
Produced in partnership with
Associazione TEVERETERNO onlus and MAXXI – Museo delle arti del XXI secolo
In collaboration with
Comune di Roma, Assessorato alle Politiche Culturali e della Comunicazioni, Regione Lazio, Creative Capital and Fortunato Productions
With the support of
The American Academy in Rome (AAR) and The University of California, San Diego
Chance Encounter on the Tiber was made possible by: Pershing Square Foundation/Bill and Karen Ackman, Amanda Burden, The Catherine C. Marron Foundation, Joyce Menschel, Charles C. Butt, Joshua C. Klausner and Hyatt A. Bass, R. Martin Chavez, Philip and Shelley Fox Aarons, Herbert Bielawa and Sandra Soderlund, Capalino + Company and James Capalino, Adele Chatfield-Taylor and John Guare, Bruce & Janet Flohr, Alice Waters, Bronson van Wyck, Leonard Barkan, Keith Baptista, Robert and Ina Caro, Stephan Jaklitsch, Martin Goldray, David Gordon, Todd Gordon and Susan Feder, Yen Ha, William Jonas Hibsher, Mario Palumbo, Darren Walker, Robert Kirzinger, Marc Kushner, Maline McCalla, Lisa Singer Moran, David Pagliano, Josh Sirefman, Cameron Smith, Eileen V. Green, Tara Morris and Jessica Dalrymple
With the participation of Tevereterno donors:
David Bermant Foundation: Color, Light, Motion
Gladys Krieble Delmas Foundation
Candy Jernigan Foundation for the Arts, Inc.
Fleming Charitable Trust