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Nasce a Pavia nel 1961, vive e lavora a Milano. Inizia la sua attività con un gruppo che trova aggregazione all’interno del corso di Luciano Fabro a Brera e che autogestisce lo spazio di via Lazzaro Palazzi, inaugurato nel 1989.

Ogni intervento dell’artista nasce, per lo più, con l’intento di indurre nello spettatore stati d’animo e sensazioni fortemente emotivi. Gli oggetti, le immagini, i testi, i suoni e le luci giocano sulla delicatezza, sulla “leggerezza” capace di incantare e sedurre.

I momenti di vita vengono filtrati da un effetto onirico che riesce a ridurre la realtà a pochi elementi essenziali cercando un punto di equilibrio e conciliazione, in quella che lo stesso artista definisce “una certa vaghezza allucinatoria”.

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Nuit Blanche Parigi 2013

(Q.i Q.i) LES OISEAUX

Play list

9-H.H.Lim (Malaysia, 1954) Hard Rain Piccioni Story (excerpt) Cronaca della nascita di una famiglia di piccioni annidati in una finestra della casa dell’artista, tenuta sotto osservazione durante la loro crescita. La pioggia battente e incessante ne scandisce il tempo come un metronomo.

05 ottobre 2013 - 06 ottobre 2013

La Gaîté Lyrique 3bis Rue Papin

75003 Parigi, Francia

I nostri ringraziamenti vanno a Chiara Parisi e Julie Pellegrin, direttore artistico delle Notti Bianche, Jerome Delormas, direttore delle Gaite Lyrique e le loro rispettive squadre. Ringraziamo in particolare Picnic Radio (Berlino) per la loro collaborazione. 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Caputi: text A. 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The exhibition encourages "a grant of self conduct" practice, setting loose sounds and feedback from all spheres making it possible for them to diffuse and mingle into the sound-scapes we inhabit.The exhibition consists of 5 different listening posts, eahc presenting its own perpective pn the error. The listening posts introduce the audience to a numebr of unique sound worlds, using the technical breakdown itself as a strategy to give voice and body to that which would not otherwise surfece. Through circuit bending, cut-ups and samples, the sound art reaches into the environment and breaches the continuity of our rational experience of the world. The art works show us unconcious moods and phenomena, and connects circuits not designed to be connected. The surroundings are animated by sound which again enhance our sense of space. The sound works mark the installation sites by interfering and underlining, amplifying or unermining the surroundings. In this way the sites themselves take part in creating cross-references between the many different layers of sound that one is likely to be tuned in on simoultaneously, though at different levels of intensity. The listening post Panic Room turns up the paranoia and surveillance atmosphere in the shopping centre Field's. The intimidating refuge criticises as well as imitates consumer culture buffoon and chaos with sample of sound from media and the collapse of discourses. At The Culture House KIB, The Cones couples the harbour front with the another dimension. The sounds function as a portal linking the site to be underground and the mystical. At The Royal Library The Black Diamond, The Glass breaks the borders between inside and outside - between private and public - with its fragile, crisp sounds and forces itself on the visitor's itnimate sphere. At the cinema and film institute, Cinemateket, Sonographic Stele translates picture itno sound and sound intopicture. One language talks on behalf of the oher an dinitiates acomplicated dialogue on the verge of nonsense. In the web-basedc listening post, City on the Net everything is inter-twined cacophony - no sound is limited to its original context, while virtual cities are recreated as soundscapes. The artists participating in Technical Breakdown all contemplate events and notions that are out of our reach - and out of control. In the exhibition sound layers ranging from the fictive ti the real, from the cognitive to the evocative come together and form a sonic web around us. 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