Arthouse Dublin Nov - Dec 2000 / Rachael Haferkamp Gallery, Cologne, Germany June - July 2003.
This
is the first in the 'cardiograph' series, it is a sound-based project
involving a range of artists and public participants from around the world. The
first call for participants was made over the Internet in 1999, an advertisement on Rhizome.org. It invited
people to send an MP3 file of their favourite (or most hated) bite of
sound, one that would evoke a personal, strong memory or emotion. At
the time the MP3 was a relatively new phenomenon and promised a speed
and interaction previously unknown. When there had been sufficient response,
Murnaghan disguised a modern keyboard in a 120-year-old upright piano,
the piano's aesthetic was worn and distressed, a physical patina empathic
with it's contents. One sound piece was attached to each note and information
as to the time, place and memory associated with each sample was left
on view in a form similar to sheet music.
The response ranged from the poignant to the disposable, a choir of children crushed when an earthquake happens halfway through singing a hymn, ljubljana 1963, Hitler Youth on Dutch Radio or simply, a guy playing pinball in New York in the 70's. There were compositions specifically made for the project and the mix of these diverse sounds created new works as the public interacted with the exhibition each day.
Visitors to the building were invited to play this collection of diverse
sounds, mixing this global flux of personal reflection, studied compositions
and seemingly disposable noise into unique moments of sound and interaction.
These unique 'recitals' were broadcast within the gallery and on the Internet. Drawing classes were held from local art colleges and performances took place during recitals.
The piano interface was deliberately used to lend tactile familiarity
to the piece in this candle lit space, as without interactivity the work would not function. No
electronic components were visible.
The above video mixes scenes from mp3 (abode) in it's first and second installations. The first features artists Mark Garry, Karl Burke, and Nina Hynes.
Contributing artists include: Marjetica Portc, Karl Burke, Aisling O'Beirn and Slavek Kwi with performance interaction from Fergus Byrne.
Rhizome is the leading art organization dedicated to born-digital art and culture. Founded in 1996, affiliated with the New Museum since 2003, the museum aquired their archive in 2014 and abode remains part of this collection.
The invitation for the first exhibition took the form of a CD with a mix of samples taken from the piano. Click below to hear.
Graphic with text allotting sound, place and emotion to each note.
Photo courtesy Slavek Kwi.
Fergus Byrne performs as Murnaghan plays.
The
second exhibition of mp3 (abode) took place in The Rachael Haferkamp Gallery in Cologne, Germany June/July 2003. Every weekend
for the period of the exhibition different artists and musicians from several musical and performance genres interpreted
the work in their own way, playing from classical sheet music, engaging with Jazz musicians or performance artisits.
Artists:
Thomas Witzmann + Rochus Aust, Axel Hoptner, Rick Walker, Dusica Cajlan-Wissel.
R.T.E. Review
A darkened room...an old piano positioned on a small stage in the sole pool of light...you are drawn across the empty floor to play it but, when you lay your hands on the keys, you hear the sound of a 70s dune buggy driving around a beach; the urgent staccato of 1940s morse code; or the hypnotic beat of a train gathering speed. The brainchild of Paul Murnaghan, MP3 (abode) is a wonderful experience, a chance to play scales with other people's emotions – and dig up a few of your own in the process.
Last year Murnaghan put a request out on the Internet for people to send him their favourite – or most hated - sound in the form of an MP3. This request was interpreted in many different ways and Paul acquired a collection of odd noises ranging from moments snatched from everyday life: a Berlin party; to pieces which were put together specially: 'drenched tracey lords gets religion'. It’s a varied assortment of sounds all of which have one thing in common: they evoke some form of strong emotion for the contributor.
Murnaghan embedded these sounds in a battered 100-year-old upright piano, assigning a different MP3 to each key. An electric keyboard has been cunningly hidden within the piano so that the illusion of something old and untouched by technology remains - until you lay your hands on the keys...
Caroline Hennessy 7/12/2000
MP3 (abode) is in Arthouse, Dublin until December 12th.