Plymouth College of Art Gallery is a toe-tapping, groovy venue even when the place is empty, so we’re guessing that it will be a vibrant buzz when Byrony Gillard‘s In the boom of the tingling strings opens.
The blurb says: “In the boom of the tingling strings considers how domestic music-making can operate as a social activator, the role of the amateur musician within society and more specifically, the cultural and social significance of the piano, as an emblem of social mobility and aspiration.”
The upshot of this will be that the Gallery at Plymouth College of art will be transformed into a working practice room for musicians, with a schedule of rehearsals throughout the exhibition open to anyone who plays non-amplified music.
Visitors are invited to view the rehearsals, uncovering a normally private act and nudging it into the realm of performance.
In the boom of the tingling strings looks at the historical context of the piano, and how could be seen in the context of the rise of middle class. A story which has most recently manifested itself in the ‘piano fever’ (not to be confused with bird flu) in China.
There’s also a song-essay exploring the relationship between the piano and female identity, performed by the artist’s mother, sisters and nieces; and an offsite performance, orchestrating a simultaneous piano recital
The exhibition kicks off on Wednesday, April 17 between 5-7.30pm.
During the exhibition, there’s a screening of Fellin’s Orchestra Rehearsal, an artist led guided tour of the work, a performance evening and an off-site performance event. Pop over to the Plymouth College of Art Gallery site for dates, times and booking details.