The Perishable Music installation is about the action of making music and its two-dimensional time operation: the ephemeral quality of the action itself against the perpetual renewal of human creative need. The shredding of the already-used scores emphasizes the briefness of the performance activity, the remains of which slowly constitute an ever-growing mound of disordered matter. On the other hand, the never-ending music—a sound that has no beginning or end, but is always happening—and the rotation of the performers, both portray the creative process as something that is always renewed.

The fact that the installation lasts the entirety of the exhibit arises the question about its limits. Many great works of contemporary music are conceived as windows that provide a view of a much larger developmental process. Inversely, each individual listener for themselves determines the beginning and end of this sonic event as he or she enters and exits the room at will.

The immediate destruction of the score prevents the work from transcending, bringing it closer to the performative action. Indeed, it acts as a denial to the possibility of possession, trade, sharing or copying, making debates of ownership and copyright meaningless.

Perishable Music adopts the form of well-known formats from the 1960's—the happening and performance-art—only to find new meanings and questions from our time.

Music as an action that is fragile but at the same time continuous, necessary and essential to human culture. Music as a repeated creative process being at the same time momentary and eternal. Music as something triggered by two essential human needs: doing and transcending, surviving and (pro)creating.