Tsabar’s site responsive installation “Propagation (Opus 3)” assumes and consumes the museum structure by transforming its architecture into the basis of a enormous musical instrument that resonates both inside, within, and outside of the museum. Visitors can pluck the strings that play the museum innards. What results is a penetrative sound that invades the building’s architecture. Tsabar uses this architectural context, specifically the institutional context, to bring incongruous characteristics of sculpture, music and performance together. However, it is the visual characteristics of each of these creative forms that determine the technical and sound component of the work so that strings, speakers and the instrument’s face become a visual sketch on the museum wall experienced only from a distance, and that when stepping closer, aesthetics merge and the body is encouraged to engage and perform. As such, the installation is in continual flow between the aesthetic and the functional.
(Text from “The Museum, The Instrument” by Claire Breukel, MARTE-C, El Salvador).

While on display the work could be activated by museum goers as well as professional musicians. The opening night included a performance by David Guardado, Naama Tsabar, Sara Moreno, Rocio Benavides and Jose Antonio Gonzales.

Photos by Rodrigo Dada