Ligeti’s Room

Reenactment of the room that Gyorgy Ligeti dreamt in his childhood.

By amid

Conceived by Dominique Gonzalez-Foerster, Philippe Parreno and Jean-Max Colard, the publication Coooooop is a “fanzine of fanzines”: the collection in the same volume of six different fanzines, each of them realized by an artist, an architect or a curator.

(See for further information)

“Serre Chaude” is curated by Phillipe Rham who proposed us to reenact the “room” that Gyorgy Ligeti dreamt in his childhood (see below his description) in an interview in 1960.

“In my early childhood I dreamed once that I could not find a way through to my little bed (which was provided with trellises and provided a perfect sanctuary), because the whole room was filled up by a fine-threaded but dense and extremely complicated web, like the secretions of silk-worms, which spin silk around themselves as pupae to cover the whole inside of the box in which they are cultivated.

Beside me there were other beings and objects hanging up in the vast network: moths and beetles of every kind, trying to reach the light around a few barely glimmering candles, and big damp-blotched cushions, their rotten filling tumbling out through tears in the covering. Each movement of the stranded creatures caused a trembling carried throughout the entire system, so that the heavy cushions incessantly lurched hither and thither, and so themselves caused a heaving in the whole. Now and then these movements, acting on one another reciprocally, became so powerful that the net tore in various places and a few beetles unexpectedly were set free, only to be lost again soon in the heaving plait work, with a stifling buzz, These events, occurring suddenly here and there, gradually altered the structure of the web, which became ever more twisted: in several places there grew great knots that could never be disentangled; in others caverns, in which a few shreds of the originally connected plaiting floated around like gossamer. The transformations of the system were irreversible; once a state had been passed it could never occur again. There was something inexpressibly sad about the process, the hopelessness of elapsing time and of a past that could never be made good again. (Quoted Griffiths, 28-9)”

Ligeti’s Room (2012)

By Cristina Díaz Moreno & Efrén García Grinda (AMID.cero9)


Cristina Díaz Moreno & Efrén García Grinda
Paseo Imperial 6, 1c. 28005 Madrid
info(at)cero9(dot)com / t-f +34913653527


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