€20.00

Raphael Montanez Ortiz - Duncan Terrace Piano Destruction Concert London 1966 CD 2
[Intermedium]

Raphael Montanez Ortiz - Duncan Terrace Piano Destruction Concert London 1966 CD 2
Ralph Ortiz (b.1939 New York) is a american artist, associated with the early Fluxus movement. The recording Duncan Terrace Piano Destruction Concert London 1966 ? as Ortiz entitled it ? was made at the Destruction In Art Symposium, in short DIAS, instigated by Gustav Metzger in London 1966, which was an outstanding artistic event at that time and in which numerous artists took part, including Jean Toche, Wolf Vostell, Hermann Nitsch, Juan Hidalgo, Robin Page, Otto M?hl, Henri Chopin, Al Hansen, Werner Schreib, John J. Sharkey, Ivor Davies, John Latham, Susan Cahn, John Sexton, Kurt Kren, Bryant Patterson, Peter Weibel and Yoko Ono. Ortiz has performed piano destructions since 1962, first in Brooklyn, then, from 1966 on, in front of an art audience. At the Duncan Terrace Piano Destruction Concert London 1966 it was the instrument of Jay and Fran Landesman that was sacrificed. The commentary on the concert was given by Tom Lopez. Also featured on this release is a remix of the Piano Destruction recording by Loopspool.

"It was a special concert my first in Europe.... The audience was invited.. There were two curators from the TATE in the audience... A photographer standing a cautious distance back was adjusting his camera lens waiting to take photos of the event... I examined the piano carefully, It was a well made piano with some inlaid decorative elements above the key board, the harp frame was cast iron...
It was beautifully polished and perfectly tuned, it's resonance was full and expansive...
I felt good about the piano and thanked it for giving me the opportunity to enter it's most sacred space and discover it' most secret sounds music denied every one who ever played it's keys and put pressure on it's foot peddles.... I thanked it for it's sacrifice to the Akasha of sound, that the angel voices in the wood, in the wire-strings, in the ivory keys, in the screws, the bolts and glue that held its Leviticusean destiny hostage... That would be realized through my ax swings...
I prayed as I swung my chrome plated ax, light flashes reflecting from the chrome on the ax head with each swing.... Everything was going as planned as I had composed the concert...
As I had for days visualized each ax swing and heard the sound that would accompany the impact of each swing... I lost track of time... I became one with the voice of the piano.... I remember someone shouting take a rest, you need the rest..... I stopped and spent two or three minutes touching the pieces scattered everywhere.... I edged close to the piano, it's harp was visible through its shattered body, I pressed my ear to to the shattered cast iron harp frame and listened...
I have more to say it whispered, much more to say......
Some fifteen minutes went by when the piano shrieked at me through it's splintering plywood once neatly stretched under the piano harp's now tangle of ax sheared-cut strings.
There were a few minutes of soft resonances and a whisper, I have said all I want to say...
Keep my harp to remember me by, and burn the rest of me on a pyre that my spirit may rise to meet my voice...
Flash bulbs and questions brought my attention back to the stairwell and the piano I had destroyed, as I took a step piano pieces tumbled down the steps into the space the audience stood in... The Tate Museum curators stood there some what dazed...
One of them said I have never seen anyone become so involved in their art... There were more comments and questions....
An hour passed I went upstairs and had a glass of wine and dunked a slice of bread into it and ate it the way some people do with a donut and coffee...
Thank you for having me share, like a beautiful flat stone, a perfect oval shape fitted comfortably in the fingers with the thumb and first finger held in the shape of a C, the knees are slightly bent, the back slightly curved, the arm is pulled back for an underhand throw, three steps forward and the release, always imagining the stone flying low and flat across the surface of the lake, watching the reality you imagined as the stone skips and touches the skin of the lakes face, skips and touches, skips and touches, like light kisses, as if saying goodbye, until its forward momentum ends and it sinks swiveling down the way flat stones do when they sink..."

Raphael Monta?ez Ortiz, April 28th 2008
Reviews
SEARCH
 

SELECTED ARTISTS / LABELS