For the actual performance of the work seventeen transparent water bowls, lit from below, were arranged in the form of a cross, separating the playing areas for the two choruses (one of sopranos and altos, one of tenors and basses, the two soloists (soprano, bass) and the two string players (violin, cello). Three percussion players were placed at three ends of the cross while the conductor stood at the fourth. Recreated in the East Gallery, the arrangement of illuminated bowls placed on pedestals of different and graded heights will be given context through a new series of prints retouched by the artist and based on his score for the Water Passion and a video of the first performance of the work in Germany. While the West Gallery is somber and reverential in feeling in keeping with its religious inspiration, the East Gallery revels in the lightness and adaptability of paper….comprising long strips of paper hanging from the ceiling, hanging Chinese scrolls brought up to date by rear-projected videos of the performance and a new series of paper-based assemblages.
“Organic Music” concerns both matters of everyday life and matters of the heart, These ideas find their origin in the animistic notion that material objects have spirits residing in them, an idea ever-present in the old village where I grew up in China. Paper can talk to the violin, the violin to water. Water can communicate with trees, and trees with the moon, and so on. In other words, every little thing in the totality of things, the entire universe, has a life and a soul.