SAIL (dialogue with Kazuko Myamoto)
Date: commissioned by MADRE museum of contemporary art, Naples in 2022
SAIL is a sound action structured on the alternation of inhalation, apnea and exhalation, in which the artist interprets the String Constructions construction pattern based on the rhythm of Miyamoto's own breathing. The sound image thus transforms from an autobiographical one into a collective dream, making the staging a simple testimony of a passage of state.
Date: commissioned by MADRE museum of contemporary art, Naples in 2022
SAIL is a sound action structured on the alternation of inhalation, apnea and exhalation, in which the artist interprets the String Constructions construction pattern based on the rhythm of Miyamoto's own breathing. The sound image thus transforms from an autobiographical one into a collective dream, making the staging a simple testimony of a passage of state.
DEEP LISTENING WORKSHOPS
Date: certified facilitator since 2021
Pauline Oliveros, a queer American composer, improviser and performer, explores the difference between the involuntary nature of hearing and the voluntary and selective nature of listening. For her, deep listening is “learning to expand the perception of sounds to include the entire spatiotemporal continuum of sound, including as much of its vastness and complexity as possible.” In this workshop and masterclasses I apply this method through scores and improvisations, cultivating greater awareness of the external and internal sound environment and exploring listening as a poetic tool for expanding the boundaries of reality: what is the difference between a remembered sound, a dreamed sound and one just heard? The collective action is aimed at deconstructing and removing these perceptual distinctions.
Selection of workshops:
- Venice Biennale 2024
- Academy of Fine Arts, Bologna 2024 (masterclass)
- Trapani Conservatoire 2024
(masterclass)
- Short Theatre festival Rome 2023
- MACRO museum of modern art Rome 2023
Date: certified facilitator since 2021
Pauline Oliveros, a queer American composer, improviser and performer, explores the difference between the involuntary nature of hearing and the voluntary and selective nature of listening. For her, deep listening is “learning to expand the perception of sounds to include the entire spatiotemporal continuum of sound, including as much of its vastness and complexity as possible.” In this workshop and masterclasses I apply this method through scores and improvisations, cultivating greater awareness of the external and internal sound environment and exploring listening as a poetic tool for expanding the boundaries of reality: what is the difference between a remembered sound, a dreamed sound and one just heard? The collective action is aimed at deconstructing and removing these perceptual distinctions.
Selection of workshops:
- Venice Biennale 2024
- Academy of Fine Arts, Bologna 2024 (masterclass)
- Trapani Conservatoire 2024
(masterclass)
- Short Theatre festival Rome 2023
- MACRO museum of modern art Rome 2023
SCREAM AS IF YOUR ORGANS WERE MADE OF GLASS
vocal solo, 20”
Presented at SHORT THEATRE festival
Date: 2022
Scream As If Your Organs Were Made of Glass is an ever-expanding sound action that plays on the ambiguity between wonder and anxiety. Who is the prey? Who is the predator? The frequencies of the sound suggest a tangible and material elsewhere, a progressively developing mental and emotional state.
The extended vocal technique calls upon different traditions, from the throat singing of the Tuva region to metal music, based on deep listening to the frequencies of the voice. Slowness and cautious movements welcome the voice, a vibrant matter that arises from the internal darkness of the body and maintains its mystery in the space of the cloister that welcomes it. Scream As If Your Organs Were Made of Glass articulates a growl that transforms until it becomes diplophonic, giving life to a threatening and looming shadow so deep and resonant that it appears non-human.
vocal solo, 20”
Presented at SHORT THEATRE festival
Date: 2022
Scream As If Your Organs Were Made of Glass is an ever-expanding sound action that plays on the ambiguity between wonder and anxiety. Who is the prey? Who is the predator? The frequencies of the sound suggest a tangible and material elsewhere, a progressively developing mental and emotional state.
The extended vocal technique calls upon different traditions, from the throat singing of the Tuva region to metal music, based on deep listening to the frequencies of the voice. Slowness and cautious movements welcome the voice, a vibrant matter that arises from the internal darkness of the body and maintains its mystery in the space of the cloister that welcomes it. Scream As If Your Organs Were Made of Glass articulates a growl that transforms until it becomes diplophonic, giving life to a threatening and looming shadow so deep and resonant that it appears non-human.
EXERCISES FOR LISTENING ATTUNEMENT
by Diana Lola Posani and Marco De Martino
presented at La Casaforte Atelier (ambassadors of Pistoletto Foundation)
Date: 2024
The project “Exercises for Listening Attunement” stems from the meeting between sound artist and Deep Listening facilitator Diana Lola Posani and composer Marco De Martino, united by a common interest in the art of listening, explored both in their artistic practices and in the pedagogical experimentation. This path is developed through the creation of sound experiences that go beyond the traditional distinction between exercise and concert, proposing an immersive experience in which sound becomes an open space, free from predetermined paths.
The “Exercises” aim to create an environment in which viewers are involved in a sound experience that transcends directional and passive listening.
by Diana Lola Posani and Marco De Martino
presented at La Casaforte Atelier (ambassadors of Pistoletto Foundation)
Date: 2024
The project “Exercises for Listening Attunement” stems from the meeting between sound artist and Deep Listening facilitator Diana Lola Posani and composer Marco De Martino, united by a common interest in the art of listening, explored both in their artistic practices and in the pedagogical experimentation. This path is developed through the creation of sound experiences that go beyond the traditional distinction between exercise and concert, proposing an immersive experience in which sound becomes an open space, free from predetermined paths.
The “Exercises” aim to create an environment in which viewers are involved in a sound experience that transcends directional and passive listening.
