THE LAST PIANO is a work complex centered on a 1935 grand piano by Anton Proksch. It offers an unconventional homage by dividing the piano into various artworks that explore the transdisciplinary processes of archiving and digitization. The project aims to present an alternative form of preservation while simultaneously reflecting critically on the concepts of archiving and technological progress. It navigates the tension between appreciation and accessibility on one side, and the questioning of innovation and tradition on the other. Here, the archive—and the archived object— become a walk-in space. The individual works invite viewers to engage with the piano through all their senses: auditorily, visually, tactilely, and interactively. At the core of the project is an expansive installation that showcases the dismantled components of the piano, highlighting their visual and auditory aesthetics. This is accompanied by an immersive soundscape—composed of the recorded sounds of the piano’s deconstruction—presented through headphones and speakers. These two central works are intrinsically connected, forming the heart of the artistic ensemble. Each dismantled part of the concert grand is treated as an autonomous artwork, speaking its own language and engaging the audience in unexpected ways. Complementing these are additional works, including video installations, projections, Detail, THE LAST PIANO, Palais Mamming Museum, Meran, 2023 – 2024 print-based techniques, and an interactive audio-tactile piece.

Object instsallation • 1502 Individual parts of a concert grand piano • dimensions variable • 2023

1502 sets the stage for the piano. Its individual components, carefully categorized and arranged, form a spacious, room-filling installation. The work places full emphasis on the visual aesthetics and the unique charm of this handcrafted instrument. The finely sculpted scrolls, ornamental details, meticulous craftsmanship, and the distinctive hue of the wood become the central artistic and aesthetic elements. By reconfiguring the grand piano into a spatial installation, the piece redefines its expressive potential— transforming the instrument into a new form of visual and sculptural language.

soundscape • 04:33:00 h • stereo audio • remote headphones (binaural / spatial audio) or stereo speakers • sound editing by MAFA Musicstudio (Max Franzelin) • 2023

Decomposing 04:33 h is one of the central works of this project: a 4 hour and 33 minute stereo audio piece capturing the disassembly of the grand piano. The recording was made using nine microphones—six room mics, two directional mics, and one contact mic—carefully positioned to document the full sonic spectrum of the process. The resulting soundscape transcends the linearity of time and action, unfolding instead as a meditative, repetitive auditory experience. The subtle dynamics of the deconstruction offer insight into the complexity and craftsmanship involved in building a concert grand piano, drawing attention to the instrument‘s material and acoustic identity. The disassembly was approached with care, calm, and deep respect—never through force. Glued components or those requiring excessive effort were left intact. What remains are the intimate, textural sounds of screwdrivers, moving parts, vibrating strings, and the artist’s own physical presence—breath, footsteps, hand movements—captured in the moment. The work is experienced through 60 wireless, remote-controlled headphones (Silent Disco AT) or, alternatively, via distributed loudspeakers. This shared listening experience introduces a social and participatory layer to the work, creating a collective “digital-acoustic” space of interaction, reflection, and archiving.1502 sets the stage for the piano. Its individual components, carefully categorized and arranged, form a spacious, room-filling installation. The work places full emphasis on the visual aesthetics and the unique charm of this handcrafted instrument. The finely sculpted scrolls, ornamental details, meticulous craftsmanship, and the distinctive hue of the wood become the central artistic and aesthetic elements. By reconfiguring the grand piano into a spatial installation, the piece redefines its expressive potential— transforming the instrument into a new form of visual and sculptural language.

Audio-tactile Sound installation • Audio samples in 5 touch dynamics (pianissimo – fortissimo) of the concert grand piano • touch-sensitive MIDI controller • 2023

Human Music plays with irony by presenting „human music“ not as compositions by humans, but as sound generated through direct human interaction—specifically, through touch. Music emerges from one of the most fundamental forms of interpersonal connection. Depending on the intensity of physical contact between two people, different notes (ranging from C to C) are triggered. In addition, MIDI automation introduces octave shifts over time, allowing the entire tonal range of the concert grand piano to unfold dynamically through touch. In this way, the piano is transformed into a touch-sensitive, performative instrument. Beyond its role in this and other works, the sampled sound of the grand piano also serves a dual purpose: contributing to the archive and supporting the digital preservation of its unique acoustic character.