licheni

online platform and virtual research laboratory for sound and art

Riccardo La Foresta >

Marco Baldini >

Lorenzo Abattoir >

Elena Biserna >

Diana Lola Posani >

Enrico Malatesta - Chiara Pavolucci >

Andrea Borghi >

Xipe _ Giulia Deval, Ivan Bringas >

Leandro Pisano >

Nicola Di Croce >

Stefano De Ponti >

Francesco Cavaliere >

Stefano D’Alessio >

Alessandra Eramo >



info


a project curated by Nub Project Space









Licheni is an online platform and a virtual research laboratory, a transversal space where artists and non-artists can meet and intertwine.

Just as the lichen is an organism derived from the association of two individuals who live together and benefit from each other, the platform lives between online and offline, drawing nourishment from one another.

Licheni is hosting reimagined web-based artwork or formats, together with projects that are born in the physical space and develop on the online platform.

Licheni is designed to develop, in the future, together with all the activities of Nub, becoming a space for the expansion of projects and over time an archive in continuous transformation.

Licheni
a project curated by
Nub Project Space

supported by
Fondazione Caripit
Publiacqua
Regione Toscana and Centro per l’Arte Contemporanea Luigi Pecci as part of the call Toscanaincontemporanea2020
Regione Toscana and Giovani Sì as part of the call Toscanaincontemporanea 2021_2022_2023

Riccardo La Foresta

 

 

The following catalog is a “posthumous” analysis of La Foresta’s work realized for “Mezz’aria. La strana apertura della ricerca sonora”, “Pelli morte all’unisono”, a floor-installation consisting of 189 used and “dead” drum skins, exhibited for the occasion for the first time.
This bulky collection of materials questions the typical accumulation of percussionists, but more generally of humankind, not throwing away things, giving rise to cemeteries of stuff in every possible corner of property.

In “Mezz’aria”, the skins played under the footsteps of the visitors, while 4 loudspeakers, located in different places of the exhibition space, extended this crossing through recordings of the same crackles. The dislocated sounds, returning randomly in deferred positions, asked the visitors what a unison is, weighing the borders between sound object and sound action, presence and intangibility.

The catalog, by documenting the conditions of the drum skins, with the premise that they were considered out of use/dead by their owners, functions as a turnaround for the collection itself and mirrors back to the reader a self-analysis on the accumulation of the things we own, use and throw away.

 

Riccardo La Foresta is a percussionist and sound artist from Modena whose research of the last few years reveals a variety of sound-related practices.
Since 2015 he’s dedicated to the development of the Drummophone, an aerophone instrument obtained from drums that creates acoustic drones, ancestral melodies and complex beats drastically distancing the instrument from traditional drumming, and questioning the role of the drum as a percussive instrument.
At the same time, he creates site-specific performances, sound sculptures and installations without limiting his work to percussive-based approaches.
La Foresta intensely toured Europe playing experimental music, free jazz, composed music and presenting sound installations in festival such as: Unsound, CTM, Terraforma, Sonica, OSA, Skanu Mesz, Sacrum Profanum, LisboaSoa, LOST, Robot, AngelicA, Tempo Reale, La Digestion, Musica Sanae, Romaeuropa among others.
La Foresta has been a Shape Platform artist of 2021 and also works as music curator in Modena for NODE festival in Modena and for an artistic residency program at La Torre.

riccardolaforesta.com

Marco Baldini

 

 

Taking off from the work realized for “Mezz'aria. La strana apertura della ricerca sonora”, TECA proposes an abstract and mysterial fruition of the research work I conducted on the iconography of Arpocrate, tracing a parable made up of arbitrary and imaginative correspondences leading from Egyptian to Hellenic cults, from Roman mystery rites to Walter Marchetti art practice.

 

Marco Baldini (Firenze, 1986) is a composer and musician. His pieces, written mainly for acoustic instrumentation, focus on spare, minimal structures that slowly unfold to delineate harmonic spaces in which timbral richness and natural acoustic phenomena are emphasized. A graduate in Roman Archaeology, Marco Baldini studied trumpet with Tolmino Marianini, Luca Marianini and with Donato De Sena at the Scuola di Musica di Fiesole.
In 2011 he founded the ensemble Blutwurst together with Daniela Fantechi and Edoardo Ricci.
Since 2015 he has collaborated with Tempo Reale on multiple projects, as editor for musicaelettronica.it, and as co-curator for the concert series TRK. Sound Club (2016-2018).
In recent times he collaborated on the soundtrack for Negotiating Amnesia (2015), Radio Ghetto Relay (2016), Sight Unseen (2019), Unsetting Genealogies(2024) and the research process for A Bomb to Be Reloaded, Chapter 2 (Resistant Voices) (2019) by italian London based artist Alessandra Ferrini.
In 2018 and 2019 he worked with Blutwurst on Ricercar nell'ombra, a piece resulting from a collaboration with electroacoustic composer Emmanuel Holterbach, and with the ensemble Phi.on Sustaining Simplicitys, a repertoire of compositions by Philip Corner, prepared in direct collaboration with the American composer.
Since 2018 he has been studying North Indian classical music: Dhrupad singing with Gianni Ricchizzi and Nafeesuddin & Aneesuddin Dagar and Khayal singing with Supriyo Dutta.
He was invited to create a work in the context of the exhibition “Mezz'aria. La strana apertura della ricerca sonora”, curated by Nub Project Space and Gabriele Tosi, wich was inaugurated in May 2023 at the Museo del Novecento e del Contemporaneo in Palazzo Fabroni, Pistoia. As part of the exhibition he also curated the performance of La caccia. Quartetto No. 2 by Walter Marchetti. He released two albums of his own compositions on the English label Another Timbre: Vesperi (2023) and Maniera (2024), the latter performed by the ensemble Apartment House.

Lorenzo Abattoir

 

 

Mess is the fourth act of a study focused on the combination of three key concepts for the artist: breathing, amplification and movement. The use of microphones with different characteristics interacts with certain breathing techniques (inspired by the animal world) allowing the artist to develop a personal research based on the theme of zoomorphism.

Conceptually, the project stems from the curiosity of vocalizing some depictions made by naturalist Ulisse Aldrovandi in his book Monstrorum historia (1642) and subsequently evolves by exploring possible connections between the work done by the author and other recent academic publications in bioacoustics such as, "Body size and vocalization in primates and carnivores," from Scientific reports (January 2017).

 

Lorenzo Abattoir is a sound artist based in Torino (IT). A key element of his work is the relationship between spiritual practices and unusual methods of audio processing, mainly focusing on the use of microphones as a medium for amplification. He explores the boundaries between sound and noise using breathing techniques and different kinds of objects as instruments to structure his performances.

Elena Biserna

 

 

Scores entertain a paradoxical relationship with time. In music, they are compositional tools, while in other disciplines such as dance they have a primarily memorial function and can be imagined as traces or archives of past performances ready to be re-enacted in the future. The Resounding Flâneuse, Ηχώ – Ανάμνηση is the second score I have written, 4 years after my first one: The Resounding Flâneuse. Both contain the traces of my past experiences in public space as well as an invitation to write together possible futures.

Considering urban planning and the social organization of space and time as systems that co-produce hegemonic relationships, including the patriarchal ones, The Resounding Flâneuse question (auditory) experiences in the city from a gender perspective. The scores play on the categories of visibility and invisibility, silencing and resonance, to invite us to listen to our spatial practices and our relation to urban otherness, but also to invest and reclaim public space through the vibration of our bodies, our presence, our steps, our voice, our words, our screams. They propose to unlearn some of the behaviours that are assumed as appropriate, safe or expected when we walk to question asymmetric spatial power relations, to interrupt the assignation of certain bodies to certain spaces, and to imagine together practices of solidarity, re-appropriation or disruption that might feed other spatial configurations and practices.

While writing these scores, I reflected on my personal embodied experience, but I also read blogs and forums used by women and gender minorities to discuss their safety in public space as well as their tactics to protect or empower themselves (many of which are related to listening). I was also inspired by several projects and writings by artists and feminist writers, sometimes directly evoking their voices. Among them: Blank Noise, Lauren Elkin, katrinem, Leslie Kern, Audre Lorde, Adrienne Maree Brown, Pauline Oliveros, Deborah L. Parsons, Anna Raimondo, Adrienne Rich, Avital Ronell, Anureet Watta, Hildegard Westerkamp and Monique Wittig.

I am immensely grateful to the women, non binary or queer people that took part in the collective walks Feminist Steps in Brussels (Oscillation festival, 2022), San Martino Valle Caudina (Interferenze, 2022), and Lausanne (LUFF, 2022) for activating The Resounding Flâneuse together, for sharing their reflections and actions, for building temporary communities based on awareness, trust and solidarity.

 

Elena Biserna is an independent resercher and occasional curator based in Marseille, France. She writes, talks, teaches, facilitates workshops or collective projects, curates and sometimes performs. Her interests are focused on listening and on “situated” art practices in relationship with urban dynamics, socio-cultural processes, the public and political sphere. Her writings have appeared in several international publications (Les Presses du Réel, Mimesis, Le Mot et le Reste, Errant Bodies, Amsterdam University Press, Cambridge Scholar, Castelvecchi, Bloomsbury, etc.) and journals. She has recently edited two books: Walking from Scores (Dijon: Les Presses du réel, 2022) and Going Out. Walking, Listening, Sound-Making (Brussels: umland, 2022). She co-curates the series La Membrane, co-edits the column wi watt'heure of Revue & Corrigée with Carole Rieussec and collaborates with Loreto Martínez Troncoso. She has presented her projects in/with different venues/organisations, such as LUFF (Lausanne), Fondation Onassis (Athens), Sonic Protest (Paris), Festival Plataforma (Santiago de Compostela); Oscillation festival, CIVA and Q-O2 (Brussels); Manifesta 13, Unité d’Habitation Le Corbusier and La Friche la Belle de Mai (Marseille); 3bisF, Locus Sonus and Fondation Vasarely (Aix-en-Provence); soundpocket (Hong Kong); Standards (Milan); NUB (Pistoia); Radio India (Rome); Sant'Andrea degli Amplificatori, Xing, Radio Città Fujiko (Bologna); Cona Zavod (Ljubljana); Saout Radio; p-node.

The Resounding Flâneuse, Ηχώ – Ανάμνηση has been written for the project School for Sonic Memory – a pluri-disciplinary nomadic residency program exploring sound, memory and trans-Mediterranean resonances curated by Theatrum Mundi and Onassis Stegi as part of Alexandria. (Re)activating Common Urban Imaginaries.

Diana Lola Posani

 

 

Antonia Pozzi, a young poetess from Milan, heads for the snowy fields of Chiaravalle in the winter of 1938. Arriving at the little river that runs through the field, she lies down beside it and, after putting a handful of sleeping pills in her mouth, scoops up some water with her cupped hand. Antonia's life is extinguished with a sip of water, amidst the silence of the snow. This discreet end brings with it so many other stories of renunciations, disappearances. The violence that enters women's lives often turns into an absence of boundaries with respect to the world, and over time solidifies as a profound desire for non-existence.

In this series of performative actions, the protagonist tries to disappear, manipulating her voice and thus her identity. The voice is blocked by other bodies, plugged by cotton, until only the open mouth remains to amplify the voices of family members. Antonia's disappearances are the next step in a research about glass, pain and the invisible, and that delicately weaves the threads of poetry with those of music.

 

Diana Lola Posani (Milano, 1994) Diana Lola Posani (Milan, 1994) is a sound artist, independent curator and Deep Listening facilitator based in Naples, Italy. With a background as a performer and director, Diana Lola works in the marginal area between performing arts and music. Her research concerns the interconnection between listening practices and vocal expression, an area she is deepening through the Vocal Functionality method with the guidance of Maria Silvia Roveri. Diana Lola is the founder and curator of Akrida - Sound art festival, which presents international female and non-binary identity artists. She also writes for the magazine 'A Row of Trees' run by the Sonic Art Research Unit (SARU) - Oxford Brookes University. In June 2022 she debuted her podcast 'Kaikokaipuu' on Fango Radio.She is currently interested in working on the shared space between sound and poetic imagery through interdisciplinary works and sound poems.

dianalolaposani.cargo.site

Alessandra Eramo

 

Composition for voice, electronics, field recordings, text, video and drawings
(October 2020)

 

Focussing on the voice in relation to noise and surroundings, in her live-performance Alessandra Eramo composes an original sound collage through extended vocal techniques and the dynamic use of electronics and field recordings, creating a hypnotic soundscape of abstract sounds, fragmented words, non verbal vocalizing, drones, distorted voice and unknown languages. In reference to sound poetry, her performance aims to generate a physical and immersive experience, like a spiritual exercise shared with the listeners.

Alessandra Eramo (IT/DE) is a Berlin-based artist, vocalist who works with sound performance and installation, text-sound composition, video and drawing, exploring latent acoustic territories of the human voice and noise as socio-political matter. Through symbolic narratives and visceral expressions, central to her practice is extending the voice in all its forms and implications in sonic and visual contexts. Gaining international recognition for her unconventional vocal performance art, she has exhibited and performed widely at festivals, radio, museums, galleries and institutions such as: SAVVY Contemporary Berlin, Deutschlandfunk Kultur Klangkunst, Liminaria/Manifesta12 Palermo, Tempo Reale Festival Firenze, 6th Thessaloniki Biennale of Contemporary Art, Transmediale Berlin, Heroines of Sound Festival Berlin, Museum FLUXUS+ Potsdam, Roulette New York, Padiglione Italia nel Mondo/54th Venice Biennale. Co-founder of "Corvo Records - vinyl & sound art production", she's been member of Errant Sound project space in Berlin with among others Brandon LaBelle and Ines Lechleitner, where she also leads her cross-disciplinary workshop "The Space between Voice and Gesture".

ezramo.com // instagram.com/alessandra_eramo

Stefano D’Alessio

 

Audio / visual, evolving, virtual reality environment
(November 2020)

Firefox recommended

 

All alone, all together, some in quarantine, some in the streets, some getting shot, some showing off that brand new automatic rifle. Because it’s our right to feel safe and protect our freshly cut green loan. We fall asleep in front of our smart devices, listening to conspiracy lullabies, while breathing ashes coming from too far away to be concerning. Did you see the video of that gigantic glacier breaking down and melting? It looks and sounds amazing! The spectacle of the apocalypse… now available in stream party!

...as bad as it seems is a virtual environment built in Mozilla Hubs, available for visitors to be experienced and explored online. A dome surrounds the space, it shows a 360-degrees video of digitally distorted and heavily compressed wildfire footage, the video pulsate following the intensity of the background sounds, an abstract and dry composition realised by exploring electromagnetic fields. Humanoids characters are distributed in the space, nearly frozen in selfie poses, their movement are subtle, slow and repetitive, their smartphones and heads are swapped. If approached their voice became hearable, each character shares a particular conspiracy theory with the close listener. The environment is dark and noisy, immaterial dark walls slowly move in the space, shading the visitor’s view while an ash-like abstract snow keeps falling.

Stefano D’Alessio (1987 Italy) is a new media artist, composer and educator.

His focus revolves around interactive performances and installations, merging different media through technology and paying special attention to time-based composition.

His research addresses the digitisation of the human in new technologies and the virtual representations of the “real”, with a special focus on the influences that the internet and its derivates have on the human body and human behaviour. Stefano is a musician and composer of electronic and electro-acoustic music, he often collaborates with dance, theatre and video directors and regularly exhibits and performs in international music and new-media art festivals.

Stefano received a bachelor degree in Visual and Performing Art from the IUAV University of Venice and a magister’s degree after studying Transmedia Art with Brigitte Kowanz at the University of Applied Arts Vienna. Since 2010 he has been giving workshops around the globe about interactive media for arts and collaborating with Klaus Obermaier and Martina Menegon on various artistic projects.

Stefano currently lives and works in Vienna (AT).

cargocollective.com/stefanodalessio

Francesco Cavaliere

 

sei cespugli e piante endemiche delle sabbie attorno a Marina di Donoratico (LI)
short poems accompanied with six music miniatures

 

I spent many months walking in the dunes of Maremma,
Marina di Donoratico, Baratti, and San Vincenzo... They are places that for those who go to the beach
occasionally seem sinister, abandoned, and inadvisable for bathers.

... "no, let's not go too far" ...

Notoriously dirty, run down and inhabited by strangers... these
wooded areas of the Mediterranean beaches are full of treasures
of biological diversity. Flora and fauna adapt to that rough course;
its breath, the sudden change, the depth, the taste, the temperature.

One actually sinks into that blanket of sand. Nobody
passes through it and you can easily observe every slight imprint and sign of life.
One day, I took it upon myself to count the drops in the morning
which solidified in the afternoon. Thousands of conical shapes
impossible to enumerate were intact....as if they were sewn in the sand.

At different times of the day, I learnt to recognize some bushes,
succulents, flowers, wild rosemary and large-leaved thorny plants.
Seeking their scientific denominations, I certainly recognized
Euphorbia paralias, Eryngium maritimum and Medicago marina
Euphorbia peplis and Salsola kali .. hard to keep in mind.

Although always in the same place, their colour and blossom seemed
sudden to me, as if from overnight there was a considerable
change in brilliance, texture, and bloom. “Well, the atmospheric agents,
are not so forgiving in these areas..... the salt, the wind, and the sun”. After
becoming passionate about their shapes and changes, I thought I would describe them
in my own way, with some short poetic soundscape compositions that you can
read and listen to on this page.

 

Francesco Cavaliere (b. 1980 Piombino, Italy) is known for the sensitivity with which he combines sounds, materials and space, His works are capable of enlivening his listeners’ inner states in an imaginative journey populated by ephemeral presences, phenomena generated by glass, minerals and voices recorded using analogue and digital technologies. First introduced to the world through the tape "Neverending Somersault,” is the author and interpreter of the "Gancio Cielo" audio stories, released as a full length LP on the label Hundebiss (IT).

“The basis for Cavaliere’s music is derived from the prowess of his imagination, which at a young age was stimulated by a gift, given to him by his grandma. “At a very young age, my grandmother, who was a music teacher, gave to me a cassette record player. And as I was an only-child, I would sit in my room alone, and have conversations with the record player and my pre recorded voice. I communicated with it.” (Spencer Clark)

Stefano De Ponti

 

 

“La natura delle cose ama celarsi” (The nature of things loves to hide) is a path of research in continuous evolution, which deals with the dynamics of massification and accumulation of the creation and fruition processes, put in relation with the inevitable impermanence of everything. Necessity, experience, attention, memory, oblivion, presence, annihilation, abandonment are some of the themes explored through intermedial and transitory works, characterized by a common critical thought towards the dispersion caused by the contemporary mediatic collapse.

 

Stefano De Ponti

Milan, 1980.
Multimedia craftsman and restless observer, over the years he has collaborated with numerous international artistic realities and institutions, publishing and showing his work in Europe, Russia, Canada and America. Seeker of combinations organized according to the rules of harmony dictated by chance, he places the center of his research along blurred boundaries where sound, matter, ecology and relationship are in connection by each other, with the aim of activating states of mind that are receptive and opened to the dialogue.

stefanodeponti.it

 

Progetto realizzato con il contributo della Fondazione Cassa di Risparmio di Pistoia e Pescia nell’ambito del bando “Per la cultura #iorestoattivo”, e dalla Regione Toscana nell’ambito del bando "Toscanaincontemporanea 2021"

Nicola Di Croce

 

 

How sounds contribute in shaping the affective atmosphere of a place? Describing affects as active forces that influence bodies, their movements and feelings, the research investigates sounds as affective tonalities, which deeply impact our everyday experience. Moving from outdoor to an on-line environment, the project presents fragments of listening, shards of essays and short notes, and invites the audience to freely associate these elements together, creating an aesthetic object to be archived in a special collection and further called back.

 

Nicola Di Croce

I am an architect, musician, sound artist, and scholar. I have a PhD in Regional planning and public policies, and I’m currently Postdoctoral research fellow at Iuav University of Venice, Italy. My research deals with the relationship between Urban Studies and Sound Studies. In particular, I’m interested in collaborative and participatory approach to urban policy analysis and design through methodologies emerging within Urban Planning, Urban Sociology and Sound Art practice. Sound is central to my artistic and academic practice, as I intend critical listening a pivotal tool for the investigation of urban and cultural transformations affecting particularly vulnerable areas, such as depopulation, segregation and loss of local identities. Through articles, lectures, compositions, performances, and installations I aim to foster sonic awareness and to empower institutions and local communities, exploring new potentials for urban regeneration, participatory processes and local development.

nicoladicroce.cargo.site

Leandro Pisano

 

An audio journey towards future ruralism, experimented through the voices of two villages’ local communities in the Fortore rural region, Southern Italy

 

The Manifesto of Rural Futurism is a document written by Leandro Pisano and Beatrice Ferrara in 2019, produced as a result of a collective thinking and practical process brought on by artists, scholars, curators, critics and people in the framework of Liminaria, a 5-year project sound art residency and fieldwork-based research platform aimed at developing “sustainable” cultural, social and economic networks in the Fortore rural region, Southern Italy.

As final outcome of the first stage of this project (2014-2018), the Manifesto of Rural Futurism is founded on a series of propositions aiming at rethinking rural areas and re-imagining their possible futures, understanding them as complex spaces actively immersed in the dynamism of encounters, flows and fluxes of contemporary geographies and critically questioning the modernistic discourses of capitalism and metropolitanism in which they are marginalised and considered as doomed to oblivion.

“Rural Futurism” is a critical perspective, in which multiple points of view (and listening) converge: art – and techno-culture(s) more specifically – provide new and striking ways to rethink what ‘rurality’ is (and could be). By interrogating our relationship to memory and the archives of the past, artistic practice reinserts the concept of the ‘rural’ into the framework of contemporary narratives, deconstructing those discourses that relegate it to the status of a mere residue of wider political, economic and cultural processes spanning a global scale.

In its materiality, sound invites us to experience rural locations and abandoned places as spaces in which to question our approach to history and landscape, our sense of living in a specific place and the relationship that we have with it. The sound of environments, spaces and landscapes reveal the challenges and territorial transformations that inform the ideological, infrastructural and biological ecosystems to which we form a part. In this sense, listening practices are deployed as a way to critically traverse the “border territories” of the rural territories, challenging persisting notions about the “inescapable marginality”, “residuality” and “peripherality” of rural areas.

The ten audio tracks presented in this context were recorded by Leandro Pisano and Andrea Cocca in July 2020 in the villages of Baselice and Montefalcone di Valfortore. Each audio piece is based on different readings of the Manifesto of Rural Futurism made by some people of the local communities. I would like to acknowledge the following people for their support of this project: Gianbenedetto Barbato, Clemente Bianco, Michelina Bianco, Maria Bianco, Giovanni Calabrese, Michele Caserio, Ireneo Calò, Sara Esposito, Beatrice Ferrara, Andrea Palazzi, Rocco Palazzi, Agostina Paolozza, Milena Petrucci, Philip Samartzis, Brenda Silvestri, Modesto Silvestri.

Photo credits: Andrea Cocca, Giuliano Mozzillo, Giuseppe Ricci.

Japanese translation of the Manifesto of Rural Futurism by Kanoko Tamura (Art Translators Collective); supervised by Yukiko Shikata

MMFS (Micro Media Festival Seeds) 2020 (2020/6/26 @ DOMMUNE.COM )の際に訳出

監修:四方幸子(MMFS2020)

翻訳:田村かのこ(Art Translators Collective)

 

Leandro Pisano is a curator, writer and independent researcher who is interested in intersections between art, sound and technoculture. The specific area of his research deals with political ecology of rural, marginal and remote territories. He is founder and director of Interferenze new arts festival (2003) and frequently he is involved in projects on electronic and sound art, including Mediaterrae Vol.1 (2007), Barsento Mediascape (2013) and Liminaria (2014-18). Among the sonic arts exhibitions he has curated, there are “Otros sonidos, otros paisajes” (MACRO Museum – Rome, Italy, 2017), “Alteridades de lo invisible” (Festival Tsonami, Valparaíso, Chile, 2018) and “Manifesto of Rural Futurism” (Italian Cultural Institute of Melbourne, Australia, 2019). He conducted presentations, conferences and workshops in different universities or during events related with new media aesthetics, design, sound and territorial regeneration processes in several countries worldwide. He has written articles in several magazines, such as Corriere della Sera – La Lettura, Blow-Up, Doppiozero, Neural, Exibart and Nero Magazine. He is author of the book “Nuove geografie del suono. Spazi e territori nell’epoca postdigitale”, published in Milan by Meltemi (2017).

Leandro Pisano holds a PhD in Cultural and Post-Colonial Studies from University of Naples “L’Orientale”, where he is a member of Center for Postcolonial and Gender Studies (CSPG). He is presently Honorary Scientific Fellow in Anglo-American Literature at University of Urbino “Carlo Bo”. He teached as adjunct professor at Academy of Arts in Naples and he has been Honorary Scientific Fellow in Didactics of Latin at University of Naples “Federico II”, where he received his Master degree with honors in Ancient Greek, Latin and Italian Literature, focusing his studies on digital philology, electronic teaching methodology and relationship between new media and classic disciplines.

He currently teaches Ancient Greek, Latin and Italian Literature in the Italian secondary schools.

leandropisano.it

Enrico Malatesta - Chiara Pavolucci

 

 

Manicula is an artistic research format aimed at combining practices involving image and sound in relation with the theme of the city, landscape and walking, with a nomadic attitude that connects in a common network different urban spaces and territories.

Manicula consists of a collection of active listening and observation exercises aimed at investigating the acoustic and visual phenomena present in some parts of the city; the areas of activation of the practices are not declared, but indicated by reference symbols. The project is a kind of treasure hunt and does not require the presence and mediation of a performer/artist/guide and there is no personal interaction; each individual decides how to undertake the search for symbols and how to use the available scores to investigate, on the one hand, the relationship between sound and space through the use of the body, voice or with simple tools and, on the other hand, the observation of visual phenomena related to the movement of light and its interaction with surfaces/layouts of the city. Manicula also invites people to continue the exploration by enriching it with their own personal research. No specific knowledge or skills are required to try the proposed practices.

Manicula is an OPEN PROJECT that also includes live performances, workshop as well as a visual and textual JOURNAL that documents the research and the WALKING PATHS carried out in situ by the authors.

Enrico Malatesta is an Italian percussionist and sound researcher active in the field of experimental music, sound intervention and performance; his practice explores the relations between sound, space and body, the vitality of materials and the morphology of surfaces, with particular attention to the percussive acts and the modes of listenings. enricomalatesta.com

Chiara Pavolucci is an Italian photographer. Her visual research revolves on an intimistic language and the study of landscape at the intersection between natural and urban environment, combining analog and digital techniques in the search for a personal imagery capable of enhancing the process itself.

Andrea Borghi

 

 

Andrea Borghi's sound research stems from an attraction towards materiality: objects with certain conformations or textures become sound generators, according to the methods and dynamics implemented by the artist. The plasticity of the object translates into a sound dimension that takes shape in the creation of a composition in which the sound samples are reworked with analogue and electronic instruments.

In his latest project, Andrea Borghi approaches the world of ballistics to subvert it by decontextualizing the imagery of the firearm. The artist chooses to work with aluminium plates that are perforated and shaped by the shot of a rifle. Hanging from steel cables and made to swing in the wind like gongs, in the silence of a forest clearing in the Apuan Alps, the plates welcome the event of the shot, which is imprinted on the metal surface, shaping it and altering its form and colour. By modifying the weapon with a playful intervention through the use of pigments, the act of shooting is converted into a sculptural gesture.

The sound composition derives from the re-elaboration of the sound samplings of the shot, and of its echo, made on several occasions and in different points of the clearing, corresponding to the very conformation of the mountain.

Text by Alessandra Tempesti — Photo by Silvio Pennesi

Andrea Borghi (1974 Pietrasanta, Lucca) is a sound artist and electro-acoustic composer. His work focuses on the relationship between sound and matter. His practice is based on oriented and multidisciplinary research processes, and includes sculptural objects, installations, obsolete media and electronics. In the series named "Discomateria" he resorts to the use of glass, resin, metal and, more recently, marble as primary substrate for the production of sounds with a growing body of graphic/sculptural works. Tactility is something he has been exploring in his music over the course of his entire career, creating organic auditory experiences for the listeners.

andreaborghi.com

Giulia Vismara

 

 

Ruins embraces time, stratifies it, and introduces an alternative narrative. Through the invention of what has been, the documentation of present traces, the projection of what could be, Fragment&Recompose speculates on the spatiotemporal dimension of ruins by collapsing the boundaries between present, past and future. Abandonment architectures provide an opportunity to explore how non-human life appropriates what remains. Fragment&Recompose reassembles sounds that have been found in situ to (re)story the ruins.

Giulia Vismara is an electroacoustic composer and researcher. She is mainly concerned with the organic nature of sound and the development of textures which combine concrete and synthetic elements. Her works range from electroacoustic music to sound installation, music for theatre, performance and video art. Space is the key to her work, the matrix that shapes the music as well as the sounds she composes. Through her research she explores "space" as a concept in various contexts, such as architectural, urban, technological and compositional. Currently she has focused on different methods of spatialization and 3D audio diffusion.

giuliavismara.com

XIPE _ Giulia Deval, Ivan Bringas

Cebrasno. Tres marchas

Composition in three movements for voice and Guitarra Expansiva

 

 

Je parle pour les gens habitués à trouver de la sagesse dans la feuille qui tombe, des problems gigantesques dans la fumée qui s’élève, des théories dans le vibrations de la lumière, de la pensée dans le marbres, et le plus horrible des mouvements dans l’immobilité. Je me place au point précis où la science touche à la folie, et je puis mettre de garde-fous. Continuez.

Honoré de Balzac, Théorie de la demarche

 

XIPE (IT, MEX)
Ivan Bringas _ Guitarra Expansiva
Giulia Deval _ voice, tapes

XIPE is a project developed by Ivan Bringas and Giulia Deval, aiming to create new sonic possibilities by expanding the guitar through innovative interactive electronic and physical elements. The duo combines the guitar with mechanical objects (like a tube or a magnetic tape running inside the guitar’s body) that modify its timber and allow the discovering of new sound gestures that get composed in new folklorist works for guitar, voice, and electronics. XIPE moves with the idea of creating a traditional music for worlds to come, influenced by minimalism, freak folk and improvisation. In 2021, XIPE is invited by Hangar.org, audiovisual research centre of Barcelona, to curate the annual edition of AUDIO FORMAL programme as part of a creative residency.

 

Ivan Bringas (Mexico City, 10.08.1990) is a guitarist, improviser and composer from Mexico City. His education began very early growing up at Café Jazzorca, a concert center and label founded by his parents that programs musicians engaged in developing their language mainly through improvisation and free jazz. At the age of 10 he entered the Escuela Nacional de Música of UNAM (Universidad Nacional Autonoma de México) to study classical guitar with the masters Juan Carlos Laguna and Marco Iván López Miranda; he finished his studies at Conservatorio Giuseppe Verdi in Turin (Italy) where he is actually based. Over the years he deepened his training by being in contact with musicians such as Leo Brouwer, Víctor Villadangos and Fred Frith. Since 2007 he has been developing the project “Guitarra Expansiva” which won INBA (Instituto Nacional de Bellas Artes de México) award in 2010. He released Guitarra Expansiva in 2011 for Jazzorca Records and Que viva s’aninnia for the Italian label Objet-a in 2015.

Listen / guitarra expansiva / bandcamp

 

Giulia Deval (Turin, 06.01.1993) works in the field of vocality and sound art. Different formats such as live sets, creation of sound dresses, concerts of imaginary characters and radio plays have as their basic ingredients voice and found analogue electronics. Her project Antes de la Catàstrofe. Rutas Etnográficas 3302, a participatory action for voices and magnetic tapes, passed the pre-selections of Pierre Schaeffer Award announced by INA GRM, GMVL, Phonurgia Nova and Euphonia being among the best 11 projects in 2019 and won MIBACT’s MOVIN’UP / SPETTACOLO PERFORMING ARTS in 2020. She took part to Moondog Project, a Torino Jazz Festival Original Production, together with the Italian ensemble Lapsus Lumine and the musicians Jim Black (drums) and Ernst Reijseger (cello). Her first solo album Terrapolis has been published in 2020 by the Italian label Ambient Noise Session.

Website / Listen / Terrapolis / bandcamp

XIPE _ Giulia Deval, Ivan Bringas

 

 

Inspired by a worldplay by French philosopher Jean Luc Nancy, Ex-peau-sition is a web based / interactive work that asks the visitor to be exposed to five images linked to the iconography of Spellato (“skinned”; without skin, “peau” in French). Each image is associated to a sound sample. The visitor is invited to remove the images layer by layer and re-organize them playing with size, opacity, position and volume of all elements, becoming responsible for a compositional process, in a potentially endless mutation of the surface.

The work is a digression from the project's name, XIPE, “Our Lord the Skinned”, an ancient Mesoamerican deity.

 

XIPE (IT, MEX)
Ivan Bringas _ Guitarra Expansiva
Giulia Deval _ voice, tapes

XIPE is a project developed by Ivan Bringas and Giulia Deval, aiming to create new sonic possibilities by expanding the guitar through innovative interactive electronic and physical elements. The duo combines the guitar with mechanical objects (like a tube or a magnetic tape running inside the guitar’s body) that modify its timber and allow the discovering of new sound gestures that get composed in new folklorist works for guitar, voice, and electronics. XIPE moves with the idea of creating a traditional music for worlds to come, influenced by minimalism, freak folk and improvisation. In 2021, XIPE is invited by Hangar.org, audiovisual research centre of Barcelona, to curate the annual edition of AUDIO FORMAL programme as part of a creative residency.

 

Ivan Bringas (Mexico City, 10.08.1990) is a guitarist, improviser and composer from Mexico City. His education began very early growing up at Café Jazzorca, a concert center and label founded by his parents that programs musicians engaged in developing their language mainly through improvisation and free jazz. At the age of 10 he entered the Escuela Nacional de Música of UNAM (Universidad Nacional Autonoma de México) to study classical guitar with the masters Juan Carlos Laguna and Marco Iván López Miranda; he finished his studies at Conservatorio Giuseppe Verdi in Turin (Italy) where he is actually based. Over the years he deepened his training by being in contact with musicians such as Leo Brouwer, Víctor Villadangos and Fred Frith. Since 2007 he has been developing the project “Guitarra Expansiva” which won INBA (Instituto Nacional de Bellas Artes de México) award in 2010. He released Guitarra Expansiva in 2011 for Jazzorca Records and Que viva s’aninnia for the Italian label Objet-a in 2015.

Listen / guitarra expansiva / bandcamp

 

Giulia Deval (Turin, 06.01.1993) works in the field of vocality and sound art. Different formats such as live sets, creation of sound dresses, concerts of imaginary characters and radio plays have as their basic ingredients voice and found analogue electronics. Her project Antes de la Catàstrofe. Rutas Etnográficas 3302, a participatory action for voices and magnetic tapes, passed the pre-selections of Pierre Schaeffer Award announced by INA GRM, GMVL, Phonurgia Nova and Euphonia being among the best 11 projects in 2019 and won MIBACT’s MOVIN’UP / SPETTACOLO PERFORMING ARTS in 2020. She took part to Moondog Project, a Torino Jazz Festival Original Production, together with the Italian ensemble Lapsus Lumine and the musicians Jim Black (drums) and Ernst Reijseger (cello). Her first solo album Terrapolis has been published in 2020 by the Italian label Ambient Noise Session.

Website / Listen / Terrapolis / bandcamp

XIPE _ Giulia Deval, Ivan Bringas

 

 

 

 

XIPE (IT, MEX)
Ivan Bringas _ Guitarra Expansiva
Giulia Deval _ voice, tapes

XIPE is a project developed by Ivan Bringas and Giulia Deval, aiming to create new sonic possibilities by expanding the guitar through innovative interactive electronic and physical elements. The duo combines the guitar with mechanical objects (like a tube or a magnetic tape running inside the guitar’s body) that modify its timber and allow the discovering of new sound gestures that get composed in new folklorist works for guitar, voice, and electronics. XIPE moves with the idea of creating a traditional music for worlds to come, influenced by minimalism, freak folk and improvisation. In 2021, XIPE is invited by Hangar.org, audiovisual research centre of Barcelona, to curate the annual edition of AUDIO FORMAL programme as part of a creative residency.

 

Ivan Bringas (Mexico City, 10.08.1990) is a guitarist, improviser and composer from Mexico City. His education began very early growing up at Café Jazzorca, a concert center and label founded by his parents that programs musicians engaged in developing their language mainly through improvisation and free jazz. At the age of 10 he entered the Escuela Nacional de Música of UNAM (Universidad Nacional Autonoma de México) to study classical guitar with the masters Juan Carlos Laguna and Marco Iván López Miranda; he finished his studies at Conservatorio Giuseppe Verdi in Turin (Italy) where he is actually based. Over the years he deepened his training by being in contact with musicians such as Leo Brouwer, Víctor Villadangos and Fred Frith. Since 2007 he has been developing the project “Guitarra Expansiva” which won INBA (Instituto Nacional de Bellas Artes de México) award in 2010. He released Guitarra Expansiva in 2011 for Jazzorca Records and Que viva s’aninnia for the Italian label Objet-a in 2015.

Listen / guitarra expansiva / bandcamp

 

Giulia Deval (Turin, 06.01.1993) works in the field of vocality and sound art. Different formats such as live sets, creation of sound dresses, concerts of imaginary characters and radio plays have as their basic ingredients voice and found analogue electronics. Her project Antes de la Catàstrofe. Rutas Etnográficas 3302, a participatory action for voices and magnetic tapes, passed the pre-selections of Pierre Schaeffer Award announced by INA GRM, GMVL, Phonurgia Nova and Euphonia being among the best 11 projects in 2019 and won MIBACT’s MOVIN’UP / SPETTACOLO PERFORMING ARTS in 2020. She took part to Moondog Project, a Torino Jazz Festival Original Production, together with the Italian ensemble Lapsus Lumine and the musicians Jim Black (drums) and Ernst Reijseger (cello). Her first solo album Terrapolis has been published in 2020 by the Italian label Ambient Noise Session.

Website / Listen / Terrapolis / bandcamp