In many of Günther Kieser’s posters, especially those for festivals, he meticulously deconstructed instruments and then put them back together again in surprising or unsettling ways. Such unnatural reimaginings of these physical embodiments of sound were meant to reflect the fact that contemporary music, particularly jazz, is not bound by musical rules, allowing players to diverge from formal compositions as they wish. In this intricate sculpture, Kieser has separated a classical trumpet into dozens of individual parts, fusing them together with electric cables and metal wire. This three-dimensional metal tapestry calls attention to the analog nature of his work while advertising the nonmaterial experience of music. By electrifying a classical instrument, Kieser also points to the progressive nature of the concert, emphasizing the evolution of jazz in the 1980s. The concert that year incorporated more electrified elements, highlighting new sounds and structures within the genre.