Did it really reconfigure anyone's relationship to the piano? No of course not. Do they even say how it could reconfigure it, in what way?In 1968, Lockwood originally set fire to an irreparable, upright piano on the banks of the River Thames in London. It was the first of her Piano Transplants, reconfiguring people’s relationship to one of the most iconic western instruments of our age.
that is exactly how i experienced it as well. i thought it would probably be quite fun to be involved in making it. and the bit where she's playing the piano while its a bit on fire was good.If your schtick is generating weird new sounds & textures & techniques that other people can replicate/sample, I think that's kinda cool, I mean, it'll obviously be of very limited interest, artists will use you as research material more or less, but it's a valid part of the pipeline
It's never that though is it? It never has the humility to place itself in a creative pipeline it always wants to be "Challenging" it always needs 2 pages of single-spaced exegesis about how Conceptual it is and all the Concepts it's activating, which is really just associative word soup poetry, and it's never able to articulate what useful things it discovered
"pleased to present a free program by" yeah that's because "interacting with"/experiencing this piece of "art" involves clicking around to a couple frames in the piece with fire, water, garden etc, experiencing 15 seconds then moving on. Months of work for 2.5 hours for that, why
massive difference between that stuff and setting a piano on firei generally take this rhetorical position too, that the experimental is sealed off from the wider movements of culture and is sterile but in practice i like all that mvuent music made by alcoholic Hungarians and state-funded communist Frenchmen in huge academic laboratories