Museum as Instrument: an Interview with Naama Tsabar
July 15, 2015
Artist Naama tsabar has just transformed a museum into an enormous musical instrument. The interdisciplinary artist’s site-responsive installation, at MARTE Contemporary in San Salvador, entitled Propagation (Opus 3), extends from floor to ceiling, comprised of strings, pickups, amplifiers, cables, and speakers, embedded within the architecture of the gallery space. Like a hybrid between a guitar and a piano, the strings can be plucked or percussed, and the sound travels through the innards of the museum’s walls, resounding in, around, and throughout the space. Museum visitors are invited to play and experiment with the installation, crossing the threshold between installation, sculpture, music, and performance, through August 9, 2015.
In the following exchange, I talk with the New York-based Israeli artist about the making of Propagation (Opus 3), the aesthetics and constructs of the gallery and museum space, and the particularities and tensions of working within and between the worlds of art and music.