WEEKLY sound selections from the MPDS Audio Archive
by artists, musicologists, composers, researchers and art critics.
Podcasts published every
TUESTDAY at h.7 PM CET
Info and podcasts:
Tuesday Jul 19th 2021 sound selection curated by
Tuesday Jul 6th 2021 sound selection curated by
Tuesday Jun 22th 2021 sound selection curated by
Tuesday 15th 2021 sound selection curated by
Tuesday Jun 7th 2021 sound selection curated by
Tuesday Jun 1st 2021 sound selection curated by
Tuesday May 25th 2021 sound selection curated by
Tuesday May 18th 2021 sound selection curated by
ANGELO M. FARRO
Tuesday May 11th 2021 sound selection curated by
Tuesday May 4th 2021 sound selection by
Tuesday Jul 19th 2021 sound selection curated by
STEVE PICCOLO – Relational vocal sound compositions (often with the help of Gak Sato) – Podcast
1) Turchin Tapes 2) ABC voice mix 3) Turchin Tapes 4) Bellinzona mix 5) Turchin Tapes 6) Bordeaux radio mix 7) Turchin Tapes 8) Genoa-Cremona mix 9) Turchin tapes 10) Turchin tapes 11) Turchin tapes
The relational sound pieces are made by getting visitors and listeners involved in the creation of the composition. They usually involve a closed, private and possibly soundproofed space called a Panic Box, in which the participants can enter and record themselves, without anyone else seeing or hearing what they are doing (at the time). This anonymity is essential for the results. If an actual outfitted room cannot be found, I do the recording (as the sole witness), or it is done by volunteers, inside a private space but therefore not in total solitude. The idea of a “panic room” first appeared in Copenhagen, in a crowded new shopping center at Christmas time. Since then it has evolved into many situations. I usually ask people to make vocal not verbal sounds. When the individual sounds they have contributed are edited into an almost musical narrative, the outcome is a kind of snapshot of the emotional temperature of a place – a town, a museum, a school, a community – at a given moment. It is surprising how much the results can vary from location to location. In museums, where people think they should be on their best behavior, often whispering and almost acting reverential, the chance to release emotions in a private setting can generate rather vulgar and certainly infantile sonic results. Sometimes we edit the vocal sounds into a track we can use as an “aural score.” This means that other volunteers, wearing an earbud headphone in just one ear, can imitate the score, making their interpretation of the sounds into a choral performance. At the performance, the audience cannot hear the original sounds, but only the mediation of impromptu performers attempting to imitate what they hear in their earbuds. Once we even did this in two different cities at the same time, connected on the web. The volunteers in Genoa performed the sounds made by people in Cremona, and vice versa, not at the same time but with overlaps. The results were very interesting, I thought. The procedure could become a sort of secret code for non-verbal audio communication between different communities, even distant from each other on the earth and not speaking the same language. The Turchin tapes were made using old cassette recorders, operated by the visitors to the museum themselves, in total privacy. They are by far the most “uninhibited” sounds. There were two cassette decks, and the tapes have been mixed in two tracks exactly as found at the end of each day of the week-long experiment. The Turchin Center for the Arts in Boone, North Carolina, hosted me and Gak Sato in a residency in 2006. The vocal ABC piece includes sounds made by volunteers instructed to improvise non-verbal ways of using the letters of the alphabet. At Accademia Carrara in Bergamo, early 2000s. The Bellinzona mix is a piece (including theremin by Gak Sato) based on a very loose verbal score as a guide for improvisation. The performers are mostly from an “amateur” chorus, and they stood inside the arcades of a multilevel cloister. This was for the Babel translation festival in 2006. The Bordeaux mix was made in collaboration with elementary school students during the festival Evento Bordeaux curated by Michelangelo Pistoletto in 2011.
Steve Piccolo (USA, lives and works in Milan, Italy). After studying at Bard College and New York University, he began his career in the 1970s playing bass in jazz groups and doing sound/performance in New York art spaces. In 1979 he started the Lounge Lizards with the Lurie brothers, a project which continued for about five years. Active since the mid-1970s in music, theater, performance art, sound installations, video and film soundtracks. His activities as a musician, composer, artist, curator and teacher have become too numerous, frequent and varied to list them all here. He has exhibited/performed at the Kitchen, Franklin Furnace, Environ, Squat Theater, PASS, La Mama, Issue Project Room, The Stone (all in NYC, from 1979 to 2010), Zona Gallery Florence (1982), Galleria Peccolo Livorno (1982, 2006), Documenta 8 Kassel (1987), La Rada Locarno (1989, 2004), Japanese Institute of Culture Rome (2003), MAMCO Geneva (2003), Palazzo delle Papesse Siena (2003, 2005, 2007), Base Gallery Florence (2004), FRAC Bretagne (2004, 2014), Triennale Milan (2004-05-07-09), Villa Croce Genoa (2005, 2012), Berlin Jazz Festival (1981 and 2005), Technical Breakdown Copenhagen (2005-06), Swiss Cultural Center Milan (2005), Venice Art Biennale (with WPS1, 2005, and with performances in Belgian and Greek pavilions, 2015), Sant’Arcangelo Festival (2005), Itinerario Festival Cesena (2005, 2007, 2014), Galleria Mazzoli Modena (2006), Turchin Center for the Arts Boone NC (2006, with residency), Trinity College Wales (2006), Venice Music Biennial (2006), ArtBasel Miami (2006), Kettle’s Yard Cambridge (2006), Babel Festival Bellinzona (2006), Moscow Biennial (2007), MiArt (2007), Swiss Cultural Institute Rome (2007), Spazio Mudima Milan (2007), SoundRes Lecce (2007), Experimenta Arts Festival Alberobello (2007), Performa New York (2007), Istanbul Biennial (2007), Body Process Arts Festival Istanbul (2007), Art Shakes Politics Messina (2007), Spazio Oberdan Milan (2008), Venice Film Festival (2008), Plektrum Festival Tallinn (2008), Venice Architecture Biennial (2008), GAM (now MAGA) Museum Gallarate (2008), City of Bergamo public art project (2008), Casino Luxembourg (2009), Metropolitan Museum New York (2009), City of Piacenza public art project (2009), Neon Bologna (2009, 2010), Parco d’Arte Vivente Turin (2010), Galleria Continua San Gimignano (2010), Loop Festival Barcelona (2010), Novara Jazz Festival (2010), (un)defined festival Merano (2010), Grrr Jamming Squeak Rotterdam (2011), TeatroStudio Scandicci (2011), group show I Miss My Enemies (collateral event Venice Art Biennial 2011), Festival of Imperial Gardens St. Petersburg Russia (2011) Isola Art Center Milan (exhibitions and local activism since 2002), Tirana Art Center (2011), Taller Seite Medellin (2011), Milano Film Festival (2011), Evento Bordeaux (2011), Auditorium Parco della Musica Rome (2012), Contemporary Locus Bergamo (2012), Festival della Filosofia, Modena (2012), MAAXI Rome (2014), Manifesta 10 St. Petersburg (2014), Vienna Secession (2014), Expo Milano (2015), Italian Cultural Institute Bratislava (2015), National Gallery of Arts Tirana, ONUFRI Prize (2016), Vienna Kunsthall (sounds for Nathalie Du Pasquier, 2016), Innsbruck International (with LF Nagler, 2016), Palazzo Reale Milan (VR project in exhibition by A. Pomodoro, with Oliver Pavicevic). Many of these projects were done in ongoing collaboration with Japanese musician/sound artist Gak Sato. Piccolo was sound curator at ArtVerona in 2008 and for the exhibition “Club 21” during Frieze 2010 in London, and curator of the project Chinatown Temporary Art Museum for Undo.net’s participation at InContemporanea Milan in 2008. His collaborations on art video/performance/installation soundtracks include works with Adrian Paci, Luca Pancrazzi (including sound art group DE-ABC with Gak Sato), A Constructed World, Giancarlo Norese, Alessandro Mendini, Nathalie Du Pasquier, Gabriele Di Matteo, Marc Vincent Kalinka, Marzia Migliora, VedovaMazzei and many others. He has published many records (see discography on his website). He has taught art courses at Accademia Carrara Bergamo (2002-2014), NABA Milan (2005-13), and Politecnico di Milano (Piacenza campus). His writings have been published in many international journals, magazines and books, including 4 years of a monthly column for the magazine InSound and curating of sound art pages at the Undo.Net website. Steve was one of the active members of Isola Art Center in Milan (2001-2013), and is currently part of the magazine-collective E IL TOPO (since 2009). Projects for 2017 include a workshop at Galleria Nazionale Rome and a performance at Museo Vincenzo Vela (Ticino). He has founded and curates, together with Sergio Armaroli, a space for sound art and poetry in Milan, ERRATUM, and he is a founding member of the cultural association Città Sonora. For more info explore https://stevepiccolo.com
Tuesday Jul 6th 2021 sound selection curated by
H.H. LIM – Daily Music 2010-2020 – Podcast
Excerpts from Daily Music series by H.H. Lim (2010-2020 – ongoing project)
Ten Years Of Daily Music : Daily Music (2010) / Daily Music (2020)
Collage frammentato e casuale – telegiornali, pubblicità, variety shows – Daily Music è lo zapping cacofonico dell’abnorme flusso sonoro televisivo divenuto ormai musica di sottofondo del quotidiano ”. dal testo di Anna Cestelli Guidi , testo per CAMERE RAM radioartemobile 2010
A fragmented and random collage – clips from the news, adverts, variety shows – Daily Music is the cacophonous zappingof the abnormal flux of sound from the television, now having almost become the background music of daily life”. from the text by Anna Cestelli Guidi , testo per CAMERE RAM radioartemobile 2010
H.H LIM Nato in Malesia e laureato all’Accademia delle Belle Arti di Roma, H.H. Lim vive e lavora a Roma dal 1976. L’opera di Lim, si concentra particolarmente sui vari aspetti della comunicazione, una comunicazione fatta di immagini e suoni. Il lavoro di H.H Lim mette in stretta relazione culture completamente diverse, con i suoi segni e immagini evidenzia la connessione tra gli elementi della comunicazione globale ma soprattutto pone una riflessione sulla quotidianità e la convivenza di lingue e conoscenze differenti. Segni e parole, oggetti quotidiani e materiali malleabili, insistono ed evidenziano il rapporto stretto e continuo tra diverse culture e diversi paesi.
H.H. LIM Born in Malaysia and graduated from the Academy of Fine Arts in Rome, H. H. Lim has lived and worked in Rome since 1976. Lim’s work focuses particularly on the various aspects of communication, a communication made of images and sounds. The work of H. H. Lim creates a link between completely different cultures, with his signs and images highlighting the connection between the elements of global communication, it is a reflection on everyday life and the coexistence of different languages and knowledge. Signs and words, everyday objects and malleable materials, insist and highlight the close and continuous relationship between different cultures and different countries.
Tuesday Jun 21th 2021 sound selection curated by
Donatella Landi – Autobiografia Sonora 1969 – 1974 (2021) Podcast
Questo lavoro è parte di una ricerca che sto portando avanti dal 2019, tuttora in corso. Un processo di attivazione di memoria per riannodare eventi sedimentati e fondativi della mia vita personale connessi alla memoria e alla storia collettiva.
Donatella Landi – LEGENDA AUTOBIOGRAFIA SONORA 1969 – 1974
(cronologia, riferimenti bibliografici) – SCARICA/APRI IN FORMATO PDF: LINK
Donatella Landi Fin dagli inizi degli anni novanta si dedica alla sperimentazione sonora, al video ed alla fotografia. Dal 1993 inizia a lavorare con la registrazione olofonica per la video installazione sonora ZOO, Museo Pecci, Prato, 1994, recentemente esposta nella mostra “Arche Noha, Über Tier und Mensch”, Museum Ostwall, Dortmund, 2014. Tra il 2000 ed il 2002 è a Parigi per la registrazione di Plan de Paris, (la mappa sonora della rete metropolitana di Parigi), esposta al MACRO nel 2001. Tra il 2005 e il 2007 espone Plan de Paris (de poche), una diversa veste installativa di Plan de Paris, al Sound Art Museum di Roma, all’ Akademie der Künste di Berlino in occasione di “Sonambiente06” e alla Koldo Mixelena Kulturunea, San Sebastian, in occasione di “Dimensión Sonora”, tutte esposizioni dedicate alla sperimentazione sonora contemporanea. Negli ultimi anni si è dedicata a progetti site specific in cui si avvale della partecipazione di attori non professionisti. Nel 2009 gira nella campagna del Nord Reno Westfalia il film Le Déjeuner Sur l’Herbe, con la partecipazione degli abitanti della zona – poi esposto al MuseumGoch nel settembre 2009 – e Casting Madonna, 2011, con la partecipazione di giovani madri e dei loro bambini di Città della Pieve e Monteleone d’Orvieto. Il suo ultimo film Mio Caro Mia Adorata/ My dear My Beloved è stato presentato nel 2013 alla Galerie de l’UQAM, Montreal, in versione inglese, in occasione della mostra Donatella Landi: Le résonance de l’Image, a cura di Louise Déry; nel 2015 – sempre in versione inglese ma in veste cinematografica – al Goli Theater, Goch, Germania, a cura di Stephan Mann, e in versione italiana all’Auditorium Arte, Parco della Musica, Roma. Attualmente vive a Roma dove insegna all’Accademia di Belle Arti.
Donatella Landi Since the beginning of the 90’s she works with sound installations, videos and photos. She starts to use the Holophonic head device in the 1993: her first video and sound installation Zoo, recorded with this system in Rome, was exhibited in the 1994 at Pecci Museum, Prato, Italy, and recently shown in “Arche Noha, Über Tier und Mensch”, Museum Ostwall, Dortmund, 2014. She works In Benares, India, during 1998, developing two video projects We want to keep you safe and Viceversa, in Paris between 2001 and 2002 recording Plan de Paris – the total sound map of the Paris underground. The first exhibition of Plan de Paris took place at MACRO, Rome, 2001. Plan de Paris (de poche), the light version of the work, has been shown at Sound Art Museum, Rome, 2005, at the Akademie der Künste, in “SONAMBIENTE06” Berlin, 2006, at Koldo Mixelena Kulturunea, San Sebastian, 2007, in “Dimensión Sonora”, all exhibitions dedicated to the sound art research. In the last years she mainly works with site- specific projects, in which she uses non-professional actors. On June of the 2009 she shot in Germany the film Le Dejeuner Sur l’Herbe, in the countryside of North Rhine Westphalia, realized with the participation of citizens of that area, then shown in her solo exhibition at Museum Goch, September 2009. In 2011 she shot in Monteleone d’Orvieto the film Casting Madonna with the participation of young mothers living in the countryside. Last film Mio Caro Mia Adorata/ My Dear My Beloved, has been presented at the Galerie de L’UQAM, Montreal, 2013, in the exhibition “Donatella Landi: Le résonance de L’Image”, curated by Louise Déry; in the 2015 – as a film screening – at the Cinema Goli Theater, Goch, curated by Stephan Mann and – in italian version – at Auditorium Arte, Parco della Musica, Rome. She currently teaches at the Academy of Fine Arts in Rome, where she lives and works.
Tuesday Jun 15th 2021 sound selection curated by
IIRM Institut International de Recherche sur la Radio et la Magie / http://iirrm.ch / Podcasts
TAROT |Giuliana Altamura & Zeno Gabaglio
Podcast LISTEN: http://iirrm.ch/tarot/
Un algoritmo randomico è all’origine dell’opera radiofonica Tarot: le cinque carte scelte dalla casualità vengono lette e interpretate in una reale seduta di lettura di tarocchi. La tarologa non ha di fronte a sé una persona in carne e ossa, ma si rivolge direttamente alla stessa imprevedibilità che ha selezionato le carte. La musica è costruita seguendo passo passo la lettura delle carte, amplificando i sensi e le traiettorie dei significati svelati. Un percorso che non vuole prevedere il futuro, perché il futuro non è prevedibile ma è già dentro di noi.
Authors: Giuliana Altamura & Zeno Gabaglio Length: 28min Language: Italian Recorded at: Studio Lazzaretto, Milano & Studio Puccini, Vacallo
THE RIVER | Alessandro Bosetti
Podcast LISTEN: http://iirrm.ch/the-river « The river » is a story where the characters are chords (harmonic ratios). They do not have a name or a gender and the only way to evoke them is by recalling and hearing the corresponding relation between frequencies. The story is about a nightly trip on a barge along a mysterious river. The river is also the frontier between two opposite kingdoms and it’s populated by memories, fog and allegoric dreams. The story is repeated two times, in the first iteration is a very simple enunciation of the story where chords punctuate the narration each time one of such sonorous beings is evoked. In the second iteration chords extend their duration, they are not only the characters of the story but also become the landscape, the emotional canvas and the harmonic geography where the story takes place. « The river » It’s a study on harmony. The the protagonist is a just intoned minor seventh chord ( 1/1 3/3 7/4, seventh harmonic). Travelling with him are two weirder 13th limit triads ( 1/1 16/13 3/2 and 19/16 3/2 27/16 ) while an other mysterious character ( a just intoned major third, 1/1 5/4 3/2 -, somehow an alter ego of the protagonist ) has missed the appointment and is often thought about. The complete cast of the story includes 26 characters all belonging to different tuning systems.. READ MORE AT.. http://iirrm.ch/the-river
Authors: Alessandro Bosetti Length: 32min Language: English
MORE about Jonathan Frigeri : https://www.zonoff.net
Tuesday Jun 7th 2021 sound selection curated by:
Paolo Coteni Podcast
0.3.00 P. Coteni :Viaggio sentimentale estratto / 10.00. J.Cage: “Dream” estratto. 16.30. La M. Yuong M. Zazeela: “Oceans” estratto. / 22.30. A. Coltrane : “Sita Ram” estratto. / 26.30.R. Shankar e P. Glass: “Raga miniature”. / 32.30. P. Oliveros: “Deep Listening” estratto. / 37.50. M. MONK: “Unison” estratto / 40.30. C. Palestine: “Sine Tone Study” estratto. / 44.20. K.Barry: “Regret” estratto. / 55.41. T Riley: “Eastern” estratto . / 58.05. P. P. Nath: “Roma 1974” estratto . / 1.02.00. S. Reich: “Outer Space” estratto . / 1.05.0. A. Curran: “Lontano Omaggio G. Scelsi” estratto / ex: F. Battiato: “Aria di Rivoluzione”.
Paolo Coteni, nato a Trastevere, Roma, è un pittore sonoro, si occupa da sempre delle avanguardie internazionali tra oriente ed occidente. Si forma come artista negli anni settanta con un percorso non accademico ed irregolare seguendo le esperienze dirette delle arti. Collabora con Giuseppe Chiari, lavora con L’Attico e 11 Beat ’72; dal tocco anarchico, dissacratore visivo e sonoro, un visionario. Ha curato mostre ed eventi, autore di trasmissioni radiofoniche ed ha diretto la rivista Oltre Silenzio, è docente presso Accademia di Belle Arti, direttore Artistico di Silenzio Associazione Culturale.
Paolo Coteni, born in Trastevere, Rome, is a sound painter, since many years focused on international avant-gardes, between East and West. His formation as an artist begins in the seventies with a non-academic and irregular path following the direct experiences of the arts. He collaborates with Giuseppe Chiari, works with L’Attico and 11 Beat ’72; with an anarchic touch, visual and sound desecrator, a visionary. He has curated exhibitions and events, author of radio broadcasts and directed the magazine Oltre Silenzio, he is a professor at the Academy of Fine Arts and Artistic Director of Silenzio Cultural Association.
Tuesday Jun 1st 2021 sound selection curated by:
Achim Wollscheid – replaying the archive Podcast
1 Morton Feldman – String Quartet II / 2 The Grateful Dead – Live Dead, Dark Star / 3 Phil Niblock – Touch Works, for Hurdy Gurdy and Voice / 4 Melvins – Lysol / 5 Soft Machine – Fifth ///
“replaying the archive / actually I tried to record one of my broadcasts at RadioX in Frankfurt, where I produce – every 4 weeks – a 2 hour nonstop realtime computer music stream. For various reasons I wasn’t satisfied with the result in regard to what I imagined as a broadcast for RAM, so I tried once more at an improvised studio at home, which somehow makes sense, because that’s where the archive is – meaning all the records and CDs I collected over the years and which during the pandemic I started to listen to again on purpose. One of the purposes was to find out which recording stands the test of time and which doesn’t. Five of my favourite CDs I used as a source or starting point for a digital transformation, meaning bits and fragments of the respective piece are monitored, so to say, and processed in the following. The processing involves both intentionally programmed and chance operated procedures, of which certain aspects can be changed and re-defined during live transformation. Using a term from the architectural realm you could say the procedures are parametrical.“
Achim Wollscheid (2021)
Tuesday May 25th 2021 sound selection curated by:
Riccardo Giagni – Listen! Interfere! Réson! Podcast
00.00 – Scott Johnson – Listen  5’00” / 04.53 – Ryoji Ikeda – Data.Reflex  4’16” / 09.09 – Alva Noto – Module 06  5’36” / 14.47 – Frank Bretschneider – Blue  6’08” / 20.54 – Alva Noto & Ryuichi Sakamoto – ax Mr.L.  4’18” 25.11 – Taylor Deupree – In/Formation/Wall  4’33” / 29.41 – Riccardo Giagni – Tara  8’41” / 38.16 – Morton Feldman – Madame Press Died Last Week at Ninety  4’16” / 42.05 – György Ligeti – Poème symphonique, for 100 metronomes  19’55” //
Riccardo Giagni è nato a Roma nel 1956, è compositore e musicologo. Ha compiuto studi musicali al Conservatorio dell’Aquila e si è laureato in Filosofia presso l’Università di Roma. Dal 1976 collabora con la Rai in qualità di autore, consulente, regista e conduttore di programmi culturali, radiofonici e televisivi. Ha insegnato per lunghi anni all’Università di Lecce, e attualmente all’Istituto Europeo di Design (corsi di Sound Design e di Video Design e Filmmaking) e all’ Université Paris VIII. Ha collaborato con diverse istituzioni italiane e internazionali (tra le molte, il Centre Pompidou e la Biennale di Venezia). Fa parte del Direttivo dell’Associazione Italiana dei Comositori di Musica per Film (ACMF) sin dalla sua fondazione. Ha composto per il teatro, la televisione e il cinema, collaborando con autori come Marco Bellocchio, Mimmo Calopresti e Sabina Guzzanti.
Riccardo Giagni, born in Rome in 1956, is a composer and musicologist. He completed his musical studies at the Aquila Conservatoire and graduated in Philosophy from the University of Rome. Since 1976 he has collaborated with RAI as author, consultant, director and host of radio and television cultural programs. He has taught for many years at the University of Lecce, currently he teaches at the European Institute of Design (courses in Sound Design and Video Design and Filmmaking) and at the Université Paris VIII. He has collaborated with various Italian and international institutions (among many, the Centre Pompidou and the Venice Biennale). He is a member of the Board of the Italian Association of Film Music Composers (ACMF) since its foundation. He has composed music for theater, television and cinema, collaborating with authors such as Marco Bellocchio, Mimmo Calopresti and Sabina Guzzanti.
Tuesday May 18th 2021 sound selection curated by:
ANGELO M. FARRO
Angelo M. Farro – New York Noise Podcast
Featuring: 1 Ludwig van Beethoven / 2 Glenn Branca / 3 Lou Reed / 4 The Velvet Underground / 5 Mars / 6 Gray / 7 Arthur Russell / 8 Men’s Recovery Project / 9 Lightning Bolt / 10 Black Dice / 11 Sightings / 12 Terrestrial Tones
Angelo Maria Farro vive e lavora a Roma. Opera come sound artist e compositore per musica, cinema e televisione. Da tanti anni assistente e collaboratore di Alvin Curran ha realizzato svariate installazioni audio in gallerie d’arte in Italia e all’estero. È curatore dei laboratori “Musica per film” del Centro Sperimentale di Cinematografia della sede di Roma, all’interno dei quali è docente di Musica Elettronica e Cinema.
Angelo Maria Farro lives and works in Rome. He works as a sound artist and composer for music, cinema and television. Alvin Curran’s assistant and collaborator since many years, he has created various audio installations in art galleries in Italy and abroad. He is the curator of the “Music for film” laboratories of the Rome Experimental Center of Cinematography, where he teaches Electronic Music and Cinema.
Tuesday May 11th 2021 sound selection curated by:
Featuring : 00’00” EYƎ – Yamatsuka Eye / 03’00” Rainbow Island / 04’32” Sidney Miller / 06’23” Sun Araw / 09’13” Gilberto Gil live in Tunisi @ Dar Bach Hamba / 11’13” J Dilla / 12’44” Stare Case / 16’07” KK Null / 17’00” ManfreDu Schu / 18’08” Autechre / 21’06” Aaron Dilloway / 23’27” RNBW Rota Acqua / 25’01” Pontiac Streator / 30’18” Kode9 / 32’54” Arthur Verocai / 35’37” Jana Winderen / 42’17” Mind Over Mirrors / 45’14” Cluster /// Thanks to: M.Caizzi, UParale, Il Bottegone, T.V.C.I.G.
Luca Vitiello è un musicista, curatore, produttore ed autore che vive e lavora a Roma. Collabora con l’Associazione per l’Arte Contemporanea ZERYNTHIA OdV, No Man’s Land Foundation e, dal 2009, si occupa della registrazione, archiviazione e trasmissione in rete di voci, suoni e progetti per RAM radioartemobile. Ha collaborato, registrato interviste e realizzato progetti con numerosi artisti dentro e fuori contesti istituzionali. Appassionato di tecnologia e telecomunicazioni realizza prodotti audiovisivi e progetta soluzioni per il web. Suona con i Rainbow Island ed altri, sperimenta possibilità della rete su HDLIFE.it èd membro del think-tank Il Bottegone.
Luca Vitiello is a musician, curator, producer and author who lives and works in Rome. He collaborates with the Association for Contemporary Art ZERYNTHIA OdV, No Man’s Land Foundation and, since 2009, is responsible of the recording, archiving and network transmission of voices, sounds and projects for RAM radioartemobile. He has collaborated, recorded interviews and produced projects with numerous artists inside and outside institutional contexts. Passionate about technology and telecommunications, he creates audiovisual products and designs solutions for the web. He plays with Rainbow Island and others, experiments with the possibilities of the network on HDLIFE.it and is a member of the think-tank Il Bottegone.
Tuesday May 4th 2021 sound selection by:
Postazione RAM radioartemobile – Open Museum Open City (2014 MAXXI Roma)
Paolo Aita con Paolo Coteni, Avanguardie a confronto
Paolo Aita – intervento al Todi Festival (2014)
Paolo Aita (1958 -2016), era nato a Cosenza per poi trasferirsi a Pisa dove ha studiato Lettere e Filosofia. Ma è a Roma che si era fatto notare per il suo delicato eclettismo e il suo garbo curatoriale. Alla sua attività giornalistica (collaboratore di molte riviste d’arte, tra cui Inside Art, e redattore di programmi musicali su Radio Vaticana) ha sempre affiancato quella curatoriale. Ha curato moltissime mostre e vari cataloghi e antologie musicali, oltre ad aver pubblicato molti libri riguardo agli argomenti più vari,
dall’estetica alle traduzioni. Redattore di Segno, Arte e Critica, Exibart.
Paolo Aita (1958 – 2016), born in Cosenza, Italy, studied Literature and Philosophy in Pisa.
But it was in Rome that he drew attention to himself for his delicate eclecticism and his curatorial grace. His journalistic activity (collaborator of many art magazines, including Inside Art, and editor of the music programs on Vatican Radio) was always joined by the curatorial one. He has curated many exhibitions and various catalogs and musical anthologies, in addition to publishing many books on the most varied topics, from aesthetics to translations. Editor of Segno, Arte e Critica, Exibart.
Info and podcasts: