De-learning to Play the Piano

 

On-going performance initiated by Work&Leisure International (Manchester, UK, 1999), with a second version in 2010/2012 (Paris, Barcelona) and a third one in Sète (FR) in july and august 2022.


Semaine 1: from 4th to 8th july: 2-4pm
                    from 9th to 10th july : 5-7pm

4 rue Pierre Sémard 34200 Sète

Made possible with the help of Fondation des Artistes, Fondation Pernod-Ricard, Jazz à Sète (OFF).

 

In 'The Sight of Sound, Music, representation, and the history of the body', Richard Leppert develops how music operates as a marker of power in the history of painting and discusses how the representation of women at their piano illustrates the prevailing inherent social, cultural and political discourses. Following on his footsepts I collected a thousand images of women at their piano in painting and contemporary visual culture. 

see COLLECTION on TUMBLR
Instead of burning and/or hammer my piano (as it has been well done before), I decided to sit in the paintings and in front of the instrument to try and question and de-learn what I had been tought about music: which one to play, how, when and in front of whom.

For example de-learning that one should be the docile (and gifted) performer of what masters have written, sometimes as young as five... Playing without mistakes, at the right tempo and with the perfect amount of the right feelings from the soul to the keyboard... At home, for the entertaiment of ones husband and his friends, for the family, for ones daughters... and not until the beginning of the 20th century, in front of non domestic audience.

Playing a score written by a genius following the rules of classical composition, tonality and the building of tensions and their resolution... within a given time frame such as the music piece, the song, the recital, the recording habits, live in a noisy jazz club or in the silent studio, the relatshiop to the audience and how they sit ad dress... If these are not gendered practices they remain highy regulated (and regulating social practives beyond music) and the belong to what I tried to de-learn.

I only play a music that is mine, which is not whihout influences but which does not follow the pop, neo-classical or jazz rules and traditions.

 

Performance #1 (London / Birmingham / Manchester / Munich 1999)

A 4-month performance documented by 140 hours of audio and video recording, originally recorded on SVHS and audio tapes and transferred to DVDs and CDs.
Catalogue text by Josephine Pryde.

Below: In the studio (London) and the final recital at international3 Manchester, 1999

 
Below: In the group show 'Ne travaillez jamais' curated by Meta-Studio, Munich, 1999
audeoud delearning the piano

 

Performance #2  (Paris / Barcelona 2010/2012) 

A year performance with a baby grand piano (tuned and prepared) in the artist studio in Paris, and a midi piano, made possible by a grant from the Mairie de Paris.
Album with 5 cds for for part 1 on deezer and 1 for part 2 and most music downloading platforms.

 

Below: Extracts of videos published during the performance. 

Below: Installation of the documentation of the performances #1 and #2 and live performances in 'This Is Not An Art Show, Even' curated by David G Torres, Centre d’Art Contemporani de Barcelona (ES) 2012

(Album of the live performances on deezer and most music dowloading platforms)

 

 

Below: Extracts of the live performances

 

 

Inclusions in other shows:

In 'Praying for North Korea in Cork', solo show,  Mariah Black at Triksel Art Centre, Cork (IE) 2014.
Album on Apple music, on Deezer

 

Below: In ‘Natura Lapsa, group show curated by Yann Chevallier and Laurent le Deunff, le Confort Moderne, Poitiers (FR) 2014
 
Below: In the art fair rt-O-Rama, with le Confort Moderne and Petunia, Marseille, 2012
 
Below: In 'Hit & Run', group show curated by Stéphane Bérard, Galerie Eva Meyer, Paris, 2011

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