Slave Pianos, Recitals of Artist’s Music and Sound Works, Archival Material (Correspondence)


Slave Pianos, Music of the City, Archival Material (Correspondence)


Slave Pianos, Music of the City, Archival Material (Correspondence)

John Nixon
Marco Fusinato
PO Box 1029
Potts Point 2011

17 August 1999

Neil Kelly, Rohan Drape,
Danius Kesminas and Michael Stevenson.

C/ Darren Knight Gallery, Sydney.

It has come to our attention that you are making unauthorised copies/versions of our work.

These include,
Pneumatic Drill (newsletter) John Nixon.
Circle Record label formed by Julian Daspher and John Nixon.
Various compositions from the Circle Records label (Julian Daspher, Marco Fusinato and John Nixon).
Various compositions by SOLVER (Marco Fusinato and John Nixon).
Compositions by Marco Fusinato

As you know the material is our original work and we hold copyright.
As authors and holders of copyright we give no permission for the use of this material without our consent.

We ask you to stop any further production, exhibition and offers for sale of any of the material which references our work.

If you respect our rights as artists you will abide by our request.

John Nixon
Marco Fusinato

cc: Julian Daspher

Slave Pianos, Foreign Knowledge, Archival Material (Correspondence)


Slave Pianos, Foreign Knowledge, Archival Material (Correspondence)

Peter Tyndall
Sixth Street
Hepburn Springs
Victoria 3461

–3 May 2000-

Dr Brian Kennedy
National Gallery of Australia
Canberra ACT 2600

Dear Brian,

Hello again from “Bonzaview”.

The most recent painting of mine in the collection of the NGA was painted in 1980.

The NGA’s representation of my paintings between the years 1974 to 1980 is a reasonable one but beyond that, except for a few prints and so on, many of which have been gifted by me, there is a 20 year blank.

My work has been constantly developing since 1974.

I do not understand why for two whole decades the NGA has so ignored my work. (Even your recent, publicised, purchase of SLAVE PIANOS material has no SLAVE GUITARS material to properly contextualise it.)

I did hope, when you saw that large work of mine at Anna Schwartz Gallery in 1997, that that might have appealed to you as a focussed (sic) way of part-updating my NGA representation. (It is still available.)

Meanwhile my work continues, and I currently have another exhibition at Anna Schwartz Gallery. I enclose some material related to this and hope, if you are in Melbourne between now and 20 May, you will have a chance to directly experience ‘the go-between’.

With best wishes
Peter Tyndall

Slave Pianos, Dissident Consonances, Archival Material (Correspondence)


Slave Pianos, New Cathaysia, Archival Material (Correspondence)


Slave Pianos, New Cathaysia, Archival Material (Correspondence)

Subject: pianoheaven
Date: Wed, 16 Jun 2010 18:21:50 +1200

hi Michael, Danius, Neil, Rohan & David, Phil Dadson from Auckland here. I don’t think we’v met in fact, but I’v been following the work of Slave Pianos for a while now and was particularly pleased to find your work on Cockatoo Island for Sydney Biennale a couple of days ago. I’v just returned from there, from a gig at Superdeluxe@ Artspace as part of the Biennale.

Excuse me suggesting this myself, but I have a couple of works I’v often thought I’d love to hear interpreted by Slave Pianos and would like to invite you to consider it. There are quite a few in fact, but one in particular, is a three piano work titled 3DMusic, part of a triadic series performed at Sydney Biennale in 1986. Densely polyrhythmic with vocal utterances here and there - devilish for three players to synch with in places - was performed on three old electric pianos for the Biennale in what was then the amazingly acoustic Cellblock (the old Sydney womans prison block), and then at another time on three little Chinese uprights for a performance arranged by Sydney’s North Shore Chamber music association. This latter was an unexpectedly and wonderfully sonorous performance, with one of the uprights, by name of Happy, falling on its face right at the start of the performance. We couldn’t get the sustain pedal off and after righting the piano, played the piece through, full sustain all the way . I seem to recall half the audience leaving.

Another work that may be of interest is Gung Ho 1,2,3D . .. (this one you can check out an excerpt of, on Youtube if you wish. Devised for From Scratch in 1980, & dedicated to Rewi Alley, it again is another in the Triad series. A Slave Pianos interpretation could I think, make a very intruiging remix ! Which brings up another possibility. Andrew Clifford, sound & art curator, presently assistant director and curator at Gus Fisher Gallery in auckland is doing a research project around From Scratch performances, concepts, instruments etc . . part of which, downtrack, may hopefully involve an exhibition and remix album. One of my choices would be to invite Slave Pianos to do a remix of a FS work…could it interest you? A collaboration perhaps?

Keep up the great work. I look/hear forward to experiencing another outing sometime soon. Unfortunately the Adam gallery information I just received today, is too short notice for me to alter this week’s plans for. But another time. Any chance you’re visiting Auckland? let me know. It’d be a pleasure to meetup with you if you were available and interested to discuss this further sonically Phil D