Zvolen, Slovakia, 1926
For about half a century, starting in the mid-1960s, Milan Grygar has developed a body of work whose premise is the inseparable character of two senses occidental art has often seen as distinct: sight and hearing. His works have an essential connection with sound: they record its transpiring in visual form, or constitute a more or less detailed score through which to produce it.
Grygar’s work undoubtedly fits into this artistic lineage of dialogue between the senses, which attempts to compensate for the widespread tendency to separate and specialize them. More precisely (…) he belongs to that small, exclusive squadron of innovators who have tried to establish not just a relationship of analogy, but a truly reciprocal interchange between sight and sound. Inside this squadron, Grygar has a place of honor.
Simone Menegoi, May 2014
“I came to the certainty that what prevails in the world is correlation: sound is connected to the visual and the visual cannot exist without sound. Everything a human does is connected: visual and acoustic phenomena complement one another”.
Milan Grygar, Acoustic Drawing, 2001, ink on paper, cm.31,5x45
Milan Grygar, Linear Score, 1989, ink on paper, cm.88x65,5
Milan Grygar, Drawing for Seven Tones, 1988, ink on paper, cm.88x65,5
Milan Grygar, Linear Score, 1984, ink on paper, cm.88x65,5
Milan Grygar, Linear Score, 1976, ink on paper, cm.88x65,5
Milan Grygar, Sound Plastic Drawing, 1973, ink on paper, cm.88x65,5
Milan Grygar, Acoustic drawing A1, 1967, ink on paper, cm.73x51