PIANO DESTRUCTION RITUAL: COWBOY AND INDIAN, PART TWO by Raphael Montañez Ortiz
“Participatory Performance. Background Sound Thunder and Lighting. The Piano is a powerful instrument of sound to convey the message of Sacrifice I wish to convey to the Universe. The Sounds of its Destruction gives full voice to Sacrifice: To the Destruction Creation in it cycle of Creation is giving us time to understand the preciousness of Mortal Life that it never be given up to or for Sacrifice of any kind… If we must have WAR send our PIANOS to WAR. If we must have VIOLENCE send our PIANOS to VIOLENCE, I dare YOU to HATE your PIANO to fill it with your HATE and BIGOTRY and Let Creation Know your PIANO’S Life does not compare to the Miracle of Life WE MORTALS are and that OUR PIANO is the SACRIFICE TO THAT FACT…As for the Egg and the Feathers they are the subtle aspect the preparation for the SPIRITUL BONDING with the PIANO: The Egg when it is held gently in one’s cupped hands and You imagine the worst aspects of Your Character and then crush the Egg on the PIANO you have committed Yourself to the surrender of those worst aspects to the Sacrifice the PIANO is… The Feathers placed on top of the crushed Egg are the signal to the Angels to carry the Sacrifice to a place of Spiritual Redemption.”
Piano Burning by Annea Lockwood. Festival PiedNu 2016
Annea Lockwood’s classic performance music work, Piano Burning (1968) was composed when she found abandoned upright pianos on the banks of the Thames River in London during the 1960s.
Busy Signals for 10 decomposing pianos by Paul Wiancko. Methow Valley Chamber Music Festival, 2015.
Performed by Paul Wiancko, Emilie-Anne Gendron, Ryan McCullough, Elena Urioste, Ayane Kozasa, Charles Noble, Curt Spiel, Kevin Krentz, Meeka Quan DiLorenzo, Brittany Boulding Breeden, and Sonja Myklebust. Commissioned by the Methow Valley Chamber Music Festival and premiered at the grand opening of Howard Johnson’s Piano Garden on Signal Hill in Twisp, WA on July 26, 2015.
The End of Civilisation by Douglas Gordon, 2012.
“I wanted to do something with a piano in a landscape of some significance and I suppose, as a Scotsman, there’s nothing more significant than the border. I thought it was beautiful to look from one country into another and I liked the idea that Hadrian’s Wall is, under a certain interpretation, a great end of civilization… I was overwhelmed to be in a landscape of such beauty, and with such a huge unfathomable history.” —Douglas Gordon
PIANO DEMOLITION PERFORMANCE byMATTHEW BOURNE , SPATCHCOCK, LONDON, MAY 15, 2010.
“SPATCHCOCK’ nights were legendary: hosted by a community of extraordinarily creative people living in amongst the warehouses in Overbuy Road, London. Raucous, intense, powerful, FUN. As the evenings progressed, one could be guaranteed of becoming quite mashed-up, and continuing well into the following morning… SPATCHCOCK had asked if I would play an old upright piano – one they were looking to dispose of. Not wishing to pay for its removal, they asked that, as part of the performance, would I mind progressively destroying it… Armed with tools from Rupert Lees’s nearby workshop, I set about the task of a ‘demolition performance’. The video ends with an ‘encore’ performed off-camera, on another upright, elsewhere in the warehouse. The debris from the demolition was recycled, and fashioned into functional or decorative items by Rupert Lees; and the strung, iron frame, is still in use today, at Ellis Gardiner’s nearby studio.”
Yosuke YAMASHITA “Burning Piano 2008,” March 8, 2008 at Noto Resort Area Masuhogaura, Shika-machi, Ishikawa, Japan) Related Event of the 21st Century Museum of Contemporary Art, Kanazawa Third Anniversary Exhibition, Graphism in the Wilderness: Kiyoshi Awazu Exhibition.
“In the upcoming event, I will encounter an old piano built decades ago, otherwise destined to be discarded. For this old piano, I would like to perform a funeral requiem with the deepest love from my heart. At the same time, I would like my performance to pay homage to the 1973’s performance (this film work “Burning Piano” by Kiyoshi Awazu was presented in 1974,) as well as to Kiyoshi Awazu, the artist of richly experimental spirit who created it, and to all experimental avant-garde art movements of the sixties.” Text Via
Leonhard Lapin, Ülevi Eljand, Ando Keskküla, “Trio for Piano,” 1990, happening in Tallinn Art Hall, 1990. Image courtesy of the Art Museum of Estonia, Tallinn.
One of the most well-known events organized by SOUP was the happening Trio for Piano, held on International Women’s Day on March 8, 1969, in the main hall of the State Art Institute. This event wasn’t called Trio for Piano initially (the name was given retrospectively by Lapin), nor was it – at least not unambiguously – understood as a “happening” at the time. There are no recordings of this event, only the memories of the participants and the audience, according to which this happening can be, cautiously, described as follows (keeping in mind that memories are rather fluid).
As the Art Institute had recently acquired a new piano, the old piano was donated to students who had requested it. According to Lapin, they had heard that pianos were being destroyed by young and radical artists all over Europe. The students were generally familiar with the phenomena of happenings and they had organized some similar events at the Art Institute and elsewhere. International Women’s Day was celebrated all over the country with performances, lectures, and other events, and the art students made their own contribution to this celebration. In front of an audience of other students, they put the piano at the center of their activities and played on it and with it in every possible way. For example, Künnapu played the piano while reading an architectural drawing as a “score;” others painted smiling lips on the instrument and “made love” to the piano before moving it to one side and breaking it into small pieces, which were thrown to the audience to take away as souvenirs. During the event the artists also considered whether the piano should be thrown out of the window onto the street crossing next to the art school, which was known as a dangerous place where a lot of accidents happened; however in the end, this idea was abandoned. The audience was excited and reacted to all of the activities energetically; the event was remembered many years later as a legendary disturbance, but it had no serious consequences for the organizers. Text Via
Wiener Gruppe – 2nd Literary Cabaret – 15. 4. 1959. Porrhaus, Vienna. Friedrich Achleitner, Konrad Bayer, Gerhard Rühm and Oswald Wiener.
Tthe evening (of 15th april, 1959) began as promisingly as the first one. As soon as the first spectator entered the auditorium we started to play the tape recording of an oil—extraction plant transmitted by loudspeaker, which we kept going for about three-quarters of an hour till the beginning of the performance proper. This created a technical atmosphere and made for nervousness in the crowded audience (there were about 700 people). Continue HERE