Un Magazine | Slave Pianos Review by Dylan Rainforth
Un Magazine | Slave Pianos Review | Dylan Rainforth
Monash University Museum of Art, Melbourne
5 May – 23 July 2011
Curated by Max Delany
Review by Dylan Rainforth
Slave Pianos was formed in 1988 by Kesminas, Rohan Drape, Michael Stevenson and Neil Kelly, and also includes Dave Nelson. The group’s core business is the subjection of a geographically and historically diverse range of visual artists’ music projects to a process of translation and transcription; for example, an early ‘anti-music’ piece by John Nixon may be transcribed for pianola (the player — or slave — piano is the group’s exemplary instrument but they have also worked with a range of approaches, from chamber orchestras to turntablists). It is a forced fit, where dissonance, experimentation and non-standard instrumentation are neutered in order to, in Kesminas’s own words, return the avant-garde to the conservatorium.
At MUMA, The execution protocol: Mutually assured production (The MAP room) III 2007–11 presented a parlourgrand piano strapped to an oversized electric chair. The protocols consisted of selections from the Slave Pianos repertoire executed by a piston-machine (converting the baby grand to a pianola) that pummeled the ivories in response to audience selections on a retro-looking console whose Get Smart-Cold War aesthetics were borne out by a gloriously over-the-top final-day performance starring actor Richard Piper as an artistically minded Eastern European army general suffering from a Dr Strangelove-like monomania. The performance saw the piano sentenced to death and the execution presided over by an honorary member of the Punkasila junta; a wake was held in the Lithuanian-inspired vodka room.
In what I am confident amounts to one of the most significant exhibitions in Australia of 2011, Kesminas and collaborators have successfully mapped ‘execution protocols’ for folk-based lines (in the musical sense) with macabre motifs of death, anarchy and ruinous alcoholism. This is not done for shock value, or in a celebration of cynicism or pessimism, but as a process of knowledge production based in experimentation, research, performance and a testing of the limits of what might be thought of as a social epistemology based in various vulgar or popular forms, of which art, music and clear spirits just happen to be some of the most easily soluble.