SLAVE PIANOS have surely justified their motto, “Nothing Human is Alien to Us”. Co-founded in Australia in 1998, its members have made music, pulled hoaxes, divorced, married, and even given birth. Slave Pianos have taken hostages, grown flowers, kept pets, written books, volunteered as human guinea pigs for medical research, played cricket, held picnics, put on plays, saved lives, studied, committed arson, committed suicide, murdered, raped, pushed drugs, gone mad, formed a union, and found God. SLAVE PIANOS are Michael Stevenson, Danius Kesminas, Neil Kelly and Rohan Drape. Slave Pianos are represented by Darren Knight Gallery, Sydney.
SLAVE PIANOS: Contact
SLAVE PIANOS: Bibliography
Robert Adlington. “Taking soundings: music, non-music and SLAVE PIANOS.” In Keller, 2001, pages 7–15.
Glenn Barkley. Multiplicity: prints and multiples from the collections of the Museum of Contemporary Art and the University of Wollongong [Exhibition catalogue]. Museum of Contemporary Art, Sydney, 2006.
Christina Barton, editor. Play On: Serious Muzak. Victoria University of Wellington, 2010. Exhibition catalogue.
Pat Baskett. “Cultural Conquerors.” New Zealand Herald, 22 May 1999. [Review essay].
Nicky Bird. “The Queen is Dead.” Art Monthly, April 1999. [Review essay].
Philip Brophy. “Returning the Gift: Conceptualising Music.” Real Time, 105:37, October-November 2011. [Review essay]. [ http ]
Wendy Carlson. Slave Pianos. In McDonald, July 2000. Catalogue essay.
Joel Crotty. “DeFLOCKEDeD.” The Age, Thursday 24th August 2000. [Review essay].
Adrian Dannatt. “Duchamp and Beuys, Not Debussy and Beethoven.” The Art Newspaper, 99:73, January 2000. [Review essay].
Max Delany, editor. Slave Pianos / PUNKASILA / Pipeline to Oblivion: 3 Projects by Danius Kesminas and Collaborators. Monash University Museum of Art, Melbourne, 2011. [ http ]
David Elliott, editor. The Beauty of Distance: Songs of Survival at the Precarious Age. 17th Biennale of Sydney, 2010.
Juliana Engberg. “Artful Excess: The 17th Biennale of Sydney.” The Monthly, June 2010. [Review essay]. [ http ]
M. Feary and S. Maidment. “Slave to the Rhythm.” CAC INTERVIU, 9/10:30–34, Spring/Summer 2008.
Peter Frank. “Gallery Picks of the Week.” L.A. Weekly, March 17–23, 2000. [Review essay].
Seva Gakkel. Slave Pianos. CEC, St Petersburg, April 2000. Catalogue essay.
Anthony Gardner. “The Same River Twice.” Art & Australia, 46(2):160, Spring 2009. [Review essay].
Adrian Gebers. “Slave Pianos.” adriangebers.com, 2010. [Review essay]. [ http ]
Angela Goddard and Robert Leonard. The Same River Twice. Institute of Modern Art, Brisbane, 2009. Exhibition catalogue.
Paul Griffiths. “What’s in the Title? Perhaps a Little Fun.” The New York Times, page E5, April 12 2001. [Review essay].
Ulrike Groos, Susanne Titz, et al. Wiederaufnahme = Retake: Dave Allen, Andrea Bowers, Annika Eriksson, Rodney Graham, Christian Marclay, Hans Niehus, Adrian Piper, Slave Pianos : NAK Neuer Aachener Kunstverein, 14. Oktober–2. Dezember 2001. Revolver, Frankfurt an Main, 2001. [Exhibition catalogue.].
Julian Holcroft. “Slave Pianos.” Like Art Magazine, 9, Winter 1999. [Review essay].
Terry Ingram. “Get ready for a big boom in sonic art.” The Australian Financial Review, 17–18 June 2000. [Review essay].
Giovanni Intra. “Slave Artists of the Piano Cult: An Introduction.” In Keller, 2001, pages 37–48.
Simone Jones and Megan Williams. Under the Influence (Art & Music). QUT Art Museum, Brisbane, 2008. Exhibition catalogue.
Christoph Keller, editor. SLAVE PIANOS: A Diagnosis, 1998–2001. Revolver, Frankfurt am Main, 2001.
Eamonn Kelly. “Oh Fluxus, it goes on and on and on.” The Australian, page Arts.12, 25 October 2007. [Review essay]. [ http ]
Rachel Kent. “Pun to paradox: Bas Jan Ader revisited.” Parkett, 75:177–181, 2006. [Review essay]. [ http ]
Stuart Koop. “SLAVE PIANOS.” Art & Text, 75:86, 2001. [Review essay].
Charles LaBelle. “Mike Stevenson and Danius Kesminas.” Frieze, 53:122–123, June-August 2000. [Review essay].
Elizabeth Mahoney. “The Queen is Dead.” Untitled, 19, 1999. [Review essay].
Chris McAuliffe. Mike Stevenson, pages 168–170. Museum Fridericianum, Kassel, 1999. Catalogue essay.
Chris McAuliffe. “Art. Isn’t it the kookiest thing?” The Age, Wednesday 11 July 2001. [Review essay].
John McDonald. “Two Acquisitions.” Art Monthly Australia, 126:10–11, December 1999.
John McDonald, editor. Uncommon World: Aspects of Contemporary Australian Art. National Gallery of Australia, Canberra, July 2000. Exhibition catalogue.
Shelley McSpedden. “Critical Mass: Cultural Conduits, Translations and Provocations.” Eyeline, 75, 2011. [Review essay]. [ http ]
Vanessa Muller. “Wie Klavierspielen im Dschangel.” Der Tagesspiegel, February 5 1999. [Review essay].
Robert Nelson. “Punk Rocking the Old Order.” The Age, page 19, 1st June 2011. [Review essay]. [ .html ]
Stephen O’Connell. “Slave Pianos.” Art/Text, 67:92, 1999. [Review essay].
Clive O’Connell. “Enthusiasm no substitute for gravity.” The Age, Monday 25 June 2001. [Review essay].
Justin Paton. “Frequent Flyers: Toi Toi Toi in Auckland.” Art New Zealand, 92, Spring 1999. [Review essay].
Mark Pennings. “The Same River Twice.” Eyeline, 69:63–67, 2009. [Review essay].
Jeff Pressing. “A Long Tale with Many Notes.” The Age, 18th July 2000. [Review essay].
Kathleen Rahn and Susanne Titz. “Slave Pianos.” In Wiederaufnahme-Retake . Catalogue essay.
Dylan Rainforth. “Slave Pianos / Punkasila / Pipeline To Oblivion: Three Projects by Danius Kesminas and Collaborators.” Un Magazine, 5(2):30–35, 2011. [Review essay]. [ .pdf ]
Graham Ramsay. Melbourne, Glasgow, Edinburgh. Unknown, 1999. Catalogue essay.
Alistair Riddell. “From the lip: myth, word, aesthetic recycling.” RealTime, 44:42, 2001. [Review essay].
Tom Rivard. “Things Of Desire: Art, architecture and the (pre) occupation of space.” Architecture Australia, September-October 2010. [Review essay].
Dan Rule. “Slave Pianos, PUNKASILA, Pipeline to Oblivion at MUMA.” Broadsheet, 13th May 2011. [Review essay]. [ http ]
Astrit Schmidt-Burkhardt. Maciunas’ Learning Machines: From Art History to a Chronology of Fluxus. Springer Verlag Gmbh, Austria, 2nd revised and enlarged edition, 2011.
Susan Shineberg. “Meet the Wonderful Weird Guys in their Orange Jumpsuits.” The Age, page 2, 20th October 2007. [Review essay]. [ .html ]
Peter Simpson. “A German view of Kiwi Art.” Sunday Star Times, June 1999. [Review essay].
Slave Pianos. Non-Objective Brass: Five Works for Brass Choir. National Gallery of Australia, Canberra, 2000. Printed programme for a concert on Wednesday 26th July 2000 at the Australian National Gallery, Canberra.
Slave Pianos. The Broccoli Maestro: A Chamber Opera in Two Acts, for Six Voices, Six Players and Tape. Chamber Made Opera, North Melbourne, 2001. Printed programme, including libretto, for concerts on Friday 22 and Saturday 23 June 2001, North Melbourne Town Hall.
Slave Pianos. The Strange Voyage of Bas Jan Ader: Ein Hörspiel in einem Akt, für 6 Sänger, 6 Instrumentalisten und Audioeinspielung. Neuer Aachener Kunstverein, 2001. Printed programme, including libretto, for concerts on Sunday 14 and Tuesday 16 October 2001 at the Klangbrücke, Aachen and the Malkasten, Düsseldorf.
Slave Pianos. Foreign Knowledge: A Documentary Monodrama for Soprano, Narrator, Chorus, Computer Operated Piano and Tape Machine. Künstlerhaus Bethanien / The University of Ballarat, Berlin / Ballarat, 2002. Printed programme, including libretto, for a concert on Friday September 27, 2002 at the Old Courthouse Building, Ballarat.
Slave Pianos. Dissident Consonances; or The Iron Curtain, The Flux-Labyrinth & Lithuanian House; or Chairman George Maciunas & President Vytautas Landsbergis. Astra Chamber Music Society, North Melbourne, 2007. Printed programme, including libretto, for concerts on Saturday 26 & Sunday 27 May 2007, Lithuanian House, North Melbourne.
Slave Pianos. “The Gift - Redaction and Decontamination.” Discipline, 1:110–112, Winter 2011. [ .html ]
Sebastian Smee. “Slave to the Music.” Sydney Morning Herald, 10th August 1999. [Review essay].
Mitch Spee. “The Voyage, or Three Years at Sea: Part II.” Frieze, 145, March 2012. [Review essay]. [ http ]
Petra Stegmann, editor. Fluxus East: Fluxus Networks in Central Eastern Europe. Kunstlerhaus Bethanien, Berlin, 2007. Exhibition catalogue.
Eleonora Triguboff, editor. Current Contemporary Art from Australia and New Zealand. Art & Australia, Sydney, 2008.
Rachel Watts. “Sound Suspension: Slave Pianos.” Broadsheet, 39(2):116–119, June 2010. [Review essay].
Penny Webb. “Clouds mostly hot air second time around.” The Age, page 21, 24 October 2007. [Review essay]. [ .html ]
John C. Welchman. “To come out touching nothing but a piano, or Coding Down.” In Delany 2011, page 101.
Stephen Zagala. Afterglow: performance art and photography [Exhibition catalogue]. Monash Gallery of Art, Wheelers Hill, January 2011. [ http ]
Bronius Zumeris. “From the lip.” Beat Magazine, Wednesday 27 June 2001. [Review essay].
Mark von Schlegell. “Slave Pianos.” Flash Art, 33(212):117–118, May-June 2000. [Review essay].
Mark von Schlegell. “A Schema and Historo-Materialist Pro-gnostic.” In Keller, 2001, pages 17–35.