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Bologna 16>21 aprile 2013

PRESS

Live Arts Week II, al via la kermesse sulla sperimentazione nelle arti contemporanee

A Bologna da martedì 16 a domenica 21 aprile la seconda edizione della rassegna che presenterà “un insieme eterogeneo di nuove produzioni che ruotano intorno alla presenza, la performance e l'esperienza percettiva di suoni e visioni”. Tra MAMbo, Lumière, Cassero e Garage del Pincio di Alarico Mantovani | Bologna | 16 aprile 2013 Commenti (0)

Più informazioni su: Arte Contemporanea, Gianfranco Maraniello, Live Arts Week, Mambo.

Il direttore Gianfranco Maraniello non cela la sua soddisfazione e dichiara apertamente il suo entusiasmo per il programma di Live Arts Week II, la sette giorni curata da Xing in cui coabiteranno tante forme diversificate di arte ed il cui principale teatro delle operazioni sarà a conti fatti proprio il “suo” MAMbo. Frutto di una progettazione condivisa e della collaborazione tra diverse realtà in funzione di una sempre più precisa definizione dellʼidentità culturale del territorio, con la benedizione delle istituzioni, Comune e Regione, rappresentate rispettivamente nellʼoccasione dallʼassessore Alberto Ronchi e dal responsabile del Settore Spettacolo Gianni Cottafavi. Nellʼambito di questo esperimento triennale, due sono le novità sostanziali che contraddistinguono la seconda edizione rispetto alla precedente: innanzitutto la durata, unʼintera settimana, per rompere con una concezione consumistica di festival. In secondo luogo, come sottolineato da Daniele Gasparinetti, direzione artistica di Xing e Live Arts Week insieme a Silvia Fanti e Andrea Lissoni, il cambio ed una diversificazione delle location che elegge il nomadismo a pratica. Live Arts Week si svolge in unʼaltra zona della città, in sostanza quella della Manifattura delle Arti, anche per fare sistema ed assecondare le sollecitazioni delle istituzioni: oltre al già citato MAMbo gli altri luoghi deputati saranno infatti il cinema Lumière ed il Cassero nonché interessanti spazi sconosciuti ai più come quelli allʼinterno del Garage Pincio, in cui sono stati conservati i rifugi sotterranei antiaerei costruiti nel 1943 durante il periodo bellico. Nellʼampio programma, coerente con il lavoro decennale di Xing e consultabile nella sua dettagliata articolazione su http://www.liveartsweek.it , spiccano naturalmente alcuni nomi: su tutti quello diTony Conrad, artista sperimentale a tutto tondo ed uno dei grandi padri del minimalismo in musica in virtù di capolavori come Outside the Dream Syndicate, realizzato insieme ai krautrocker Faust nel 1973. Ed è proprio dellʼanno precedente il suo Ten Years Alive on the Infinite Plain, il film & music live environment che Conrad ha accettato di aggiornare e ripresentare a Bologna, a più di quarantʼanni di distanza, con il titolo Fifty-one Years on the Infinite Plain. Un suono live potente, scuro ed ambientale accompagnato da quattro ipnotiche proiezioni in pellicola per questa coproduzione Xing e Fondazione Teatro Comunale di Bologna che inaugurerà tutta la rassegna la sera di martedì 16 aprile al MAMbo. Con la pellicola e la sonorizzazione live lavorano anche Rose Kallal e Joe DeNardo ma in modo differente rispetto a Tony Conrad, come precisato da Andrea Lissoni: il loro interessante Spheres of Eden è previsto per venerdì 19 sempre negli spazi del Museo dʼArte Moderna. Allʼambito dellʼexpanded cinema è riconducibile anche lʼinstallazione site-specificWe the frozen storm di Marcel Turkowsky ed Elise Florenty visitabile nellʼarco di tutta la settimana tra il 16 ed il 21 aprile nelle gallerie sotterranee del rifugio del Pincio. Per ciò che riguarda la musica uno dei concerti da non perdere è senzʼaltro quello di venerdì di Sun Araw: un suono trasognato pieno di rimandi al kraut, alla psichedelia, al dub, al reggae, allʼafro-beat e molto altro ancora quello dello statunitense Cameron Stallones, scuola Not Not Fun, sfociato lʼanno scorso, dopo diversi dischi, in un vero e proprio diamante grezzo di rara bellezza come Icon GiveThank a nome Sun Araw & M. Geddes Gengras Meet the Congos. Prima di Sun Araw la performance audiovideo U$e Your Illu$ion$ di Dracula Lewis e Out4Pizza. Da seguire con attenzione anche le simmetrie impossibili di drones dellʼinglese Helm, lʼurlatrice giapponese Junko, le cui emissioni vocali vengono paragonate ai fraseggi dei sassofonisti free più che al noise nipponico, ma anche lʼeccentrico artista danese delle Faer Oer Goodiepal che avrà il compito di chiudere la Live Arts Week II domenica sera. Discorso a parte merita Daniela Cattivelli che per la sua sound performance basata su richiami per uccelli ha addirittura coinvolto due chioccolatori veneti ovvero due virtuosi nellʼimitazione del canto dei volatili che solitamente si esibiscono in campionati internazionali e sagre paesane tipo la sagra dei osei. Imperdibile. Sul dancefloor del Casserosaranno invece Alex Smoke e Miss Kittin a menar le danze il sabato notte sino allʼalba. Al MAMbo lo spazio è pensato come “flusso di accadimenti” in cui gli artisti coabitano e Silvia Fanti punta i riflettori sulle “atletiche esistenziali” presentando lʼartista svedese e teorico nel campo della performance e della danza contemporanea Martin Spangberg: lavorerà live al suo blog, una raccolta di 48 post che diventerà un libro. E ancora Muna Mussie, artista che lavora tra Bruxelles e Bologna, con la performance Monkey See, Monkey Do, e quindi il cinema-teatro del Nature Theater of Oklahoma con i Silent Movies Screen Test. Al Lumière, domenica, la prima italiana di The Host and the Cloud di Pierre Huyghe. A partire da questa edizione sarà disponibile anche un video channel sul sito web di Live Arts Week, con contenuti ulteriori; inoltre andrà in onda su Radio Città del Capo un particolare programma radiofonico intitolato Volatile Voices, a cura di Elisa Fontana; infine anche NERO magazine coinvolgerà un gruppo di critici, osservatori, fotografi. “Ciao, sono GIANNY PANG e lo ripeto per lʼultima voltaren: sono lʼimmigratorn appena arrivatongue, arrivato a rubarti il posto di lavoro – ah scusami hai ragione – dimenticavo che non ce lʼhai – give me five. Anyway vedry che lo trovereich. Eppalà, come per magia qualcuno te lo darà. Contachips. Mi han detto che ce ne è per tuttrip. Ma forse tu jetz mi dicipcip yes, che non lo cerchief?”. Lʼesilarante “controeditoriale” di Riccardo Benassi, artista visivo dal background musicale che da molto tempo è compagno di strada di Xing e che al MAMbo porta il suo progetto di ambiente performativo TechnoCasa, la dice lunga sulla necessità di ripensare costantemente i modi dei linguaggi. UIT UITIT UITRU TITRU TITITRU TUT.

MAMbo dal vivo. Da stasera torna al museo bolognese la seconda edizione di “Live Arts Week". In scena? Da Riccardo Benassi a Tony Conrad, fino a Junko pubblicato martedì 16 aprile 2013

Unica regola: tutto dal vivo. Che siano performance, spettacoli, lectures, concerti o spettacoli live media non importa. Da stasera, fino al 21 aprile, il MAMbo in collaborazione con Xing, network che progetta e sostiene eventi, ospita la seconda edizione di "Live Arts Week”, unico evento italiano e palinsesto di opere e interventi di varia natura ambientale, incentrati sulle diverse modalità dello stare e dell’attraversare quello che è lo spazio museale.

Si comincia stasera con Tony Conrad, filmaker e musicista statunitense padre del minimalismo cinematografico degli anni '60, che segna una collaborazione tra il museo e il Teatro Comunale di Bologna. In scena la storica performance Fifty-one Years on the Infinite Plain (1972-2013), un ambiente/performance di suoni e proiezioni dell'artista, mentre nella stessa serata si darà il via anche ai sei cortometraggi inediti di Nature Theater of Oklahoma: intitolati Silent Movies Screen Tests, i corti offrono un continuum tra arte colta, trash e vita quotidiana, e saranno proiettati nel corso delle sei serate di festival.

Arriverà invece mercoledì l'italiano Riccardo Benassi con Techno Casa, dove l'architettura si trasforma in un sistema di display e non c'è più alcuna differenza tra il monitor e la stanza. Il progetto proseguirà per cinque serate consecutive, incrociando scrittura, immagine, suono, spazio, luce.

Sul piano più performativo invece ci sarà la produzione Monkey See, Monkey Doideata da Muna Mussie e prodotta da Xing, che riflette sull'immagine e il suo potenziale a partire dalla dimensione conturbante del doppio e dello specchio; coreografie con Eszter Salamon e Christine De Smedt, divisi tra gesto e parola e poiUIT, della compositrice Daniela Cattivelli, con gli interventi del coreografo Michele Di Stefano: una performance generata attraverso richiami per uccelli che attivano un processo di trasfigurazione spaziale e sonora.

Non fa male un tocco di esotismo con Goodiepal, compositore, performer, agitatore critico e artista visivo delle isole Far Oer, in transito per il mondo con una sorta di Goodiepal Car autocostruita. Autodidatta, eccentrico, alternativo e apripista per la ricerca musicale degli ultimi anni, sarà a Bologna con un concerto in conclusione di tutta la kermesse. Spazio anche per l'Austria e Komposition, lavoro coreografico sul "danzare assieme" di Anne Juren, Marianne Baillot, Alix Eynaudi e Agata Maszkiewicz, un'esplorazione di gruppo sulla combinazione, e sulla fusione dei corpi. Prima spostarsi al Garage del Pincio, sotto la Montagnola, dove sarà in scena niente meno che Pierre Huyghe e la prima proiezione del remake "storico” dei fatti avvenuti a San Valentino, il Primo Maggio e ad Halloween, The Host and The Cloud, film dove gli attori sono il personale del Musée des Arts et Traditions Populaires di Parigi , c'è da chiudere il programma al MAMbo. E ci penserà, in maniera esemplare, Junko, vocalist e strumentista, una di membri fondatori della leggendaria band noise giapponese Hijokaidan, con Nature, performance non amplificata, dove la musicista per la prima volta da sola in Italia darà corpo a un'opera di pura voce e linguaggio, inarticolabile e indicibile: una polifonia disturbante, impossibile. Il programma completo, lo trovate qui: www.liveartsweek.it

Un altro festival? A Bologna un’intera settimana per le live arts

Torna Gianny Päng, torna il palinsesto di Xing, che quest’anno si concentra sulle atletiche esistenziali, presentando opere ibride che parlano linguaggi compositi. È la Live Arts Week di Bologna. Si parte martedì 16 aprile.

Scritto da Claudio Musso | lunedì, 15 aprile 2013 · Lascia un commento

Muna Mussie, Monkey See Monkey Do, 2013, foto Giannina Urmeneta Ottiker

Ci eravamo lasciati con la prima edizione di Live Arts Week, ovvero con il progetto che si proponeva di andare oltre le logiche che avevano accompagnato le sperimentazioni audiovisive (NetMage) o le derive teatrali e delle poetiche del corpo (F.I.S.Co) verso una performatività allargata. La seconda edizione prenderà vita in gran parte all’interno di uno spazio museale, il MAMbo, che diventa un ambiente per testare forme e pratiche dell’abitare (sia nel senso di soggiornare che di occupare) attraverso gli strumenti della coreografia, della musica e dell’allestimento. Un programma ricco e articolato che, come era accaduto un anno fa, spinge l’attenzione anche sulle modalità di fruizione e ricezione, spostando il bersaglio sul pubblico . Si tratta proprio di vivere le stanze e i corridoi del museo nel caso di Goodiepal che porterà al festival la sua azione critica nei confronti di quelle che lui stesso chiama “posture culturali”, lui che si sposta per il mondo con un velocipede e che dall’esperienza bolognese partorirà un concerto, atto conclusivo dell’intera manifestazione. Come sempre Xing persegue l’intento di presentare e accostare autori di generazioni diverse: il museo è la sede prescelta per la riproposizione della storica performance Fifty-one Years on the Infinite Plain (1972-2013) di Tony Conrad, tra i fondatori del minimalismo ed esponente di spicco dell’avanguardia audiovisiva americana. Fa da contraltare, sempre sul versante americano, la proposta dei Silent Movies Screen Tests,sei cortometraggi inediti di Nature Theater of Oklahoma, compagnia fondata nel 1995 da Pavol Liska e Kelly Copper.

Si conferma la volontà di produzione e sostegno alla scena italiana testimoniata dalla presenza dei progetti di Riccardo Benassi, Muna Mussie, Sara Manente e Daniela Cattivelli. Quest’ultima, accompagnata dal coreografo Michele di Stefano, presenta una performance intitolata UIT basata sulla reazione a input sonori provenienti da richiami per uccelli. Manente, coreografa italiana attiva in Belgio, ha ideato un’azione dedicata a Marcel Broodthaers e Andy Kaufman, alla loro visione dell’arte come perpetuo rinarrare, riscrivere riformulando la realtà. In Monkey See, Monkey Do, Mussie lavora sull’immagine e sul suo riflesso, mentre Techno Casa di Benassi è un progetto complesso che fonde le logiche dell’installazione e della performance per produrre un’analisi profonda dell’ossessione tecnologica che si ritorce sull’architettura d’interni. L’intervento è anticipato da un video trailer, parte della sezione video channel – insieme tra gli altri al didattico The Life Skills dell’artista russo Dmitry Paranyushkin - che mette a disposizioni contenuti supplementari anche per chi non può seguire la programmazione dal vivo. Altre attività parallele per l’edizione che si aprirà a breve sono il live critics e streaming in onda su Radio Città del Capo Volatile Voices a cura di Elisa Fontana, ispirato dal libro Elizabeth Grosz, e la piattaforma critica Blended Gaze curata da Piersandra Di Matteo con un gruppo di critici, osservatori, fotografi sullo spazio web di Nero Magazine. Molto più lungo l’elenco degli artisti che si esibiranno al MAMbo, tra gli altri Lucio Capece, la collabrazione tra Dracula Lewis e Out4Pizza, Rose Kallal con Joe DeNardo, il ritorno di Mårten Spångberg.

Pierre Huyghe, The Host and The Cloud, 2009-2010, Image from 14 February 2010, Courtesy of Marian Goodman Gallery, New York and Paris, Photo by Ola Rindal

Uscendo dal museo vanno segnalate due presenze interessanti: Marcel Türkowsky & Elise Florenty e Pierre Huyghe. La coppia franco-tedesca, al debutto italiano, presenta l’installazione audio-visiva We, the frozen storm, visibile per tutta la durata del festival nei suggestivi e insoliti spazi del Garage Pincio, “caverna artificiale” sottostante il Parco della Montagnola. Del famoso artista francese invece viene presentata la prima italiana di The Host and The Cloud, film in cui impiegati del Musée des Arts et Traditions Populaires di Parigi sono stati coinvolti in una serie di azioni ispirate alle tradizioni popolari accadute nei giorni di Halloween, San Valentino e Primo Maggio. Ce n’è abbastanza per fare del capoluogo emiliano la capitale delle arti performative? Dal 16 al 21 aprile, crediamo proprio di sì.

Claudio Musso www.liveartsweek.it

POLYSINGULARITY UNIVERSE 11 April 2013

Arts Week II, the 5 days festival dedicated to live arts organized by Xing in Bologna,NERO is presenting an extensive interview with the curators of the festival byPiersandra Di Matteo. Xing is an independent network, founded in 2000, committed to the production, realization and promotion of various multidisciplinary projects, many of which stand out for a special attention in confronting the issues related to the reception of the arts as autonomous languages. Here is the interview, conceived and edited as a list of key-terms, which defines the theoretical frame of the festival that will start next week.

Key Terms for curator. In conversation with Xing — Silvia Fanti Daniele Gasparinetti Andrea Lissoni — on the second edition of Live Arts Week in Bologna. by Piersandra Di Matteo

I. THEY ARE MANY AND THEY ARE ALL DIFFERENT Live Arts Week II creates bastard universes which enclose forms of imbalanced equilibrium. As curators and creators of a space-time to be shared with spectators, this year we are looking at eccentric figures, which can be defined as individual avant-gardists, but without the “ism” that marked the premises of the avant-garde, i.e. the aggregation under a manifesto, a precise aesthetic stance. Last year we introduced a reasoning about the manifesto which this year is not present or it is very marginal. Today we are interested in the notion of “polysingularity” which is a concept developed by Dmitry Paranyushkin, a Russian artist who works on the internet, on the design of computer systems and on the networks. From a similar – even though more romantic and solitary – trajectory, Riccardo Benassi is presenting a meta- reflection, almost godardian, on the question: what is a TecnoHouse?

I. 1# PROCESSES RATHER THAN OBJECTS In this edition we make space for “existential athletics”. Unlike at the time of Netmage, we have abandoned the idea of recognition and we are looking at creative singularities, more unique than exemplar ones. More generally, we started from the interest in the individual universes of the artists, in their continuous practices, even in their follies, rather than in the condensation of their works. For example Goodiepal, a Danish composer and performer, will come by bicycle from the Faroe Islands. You cannot say that the performance is the journey, but for sure that trip is an integral part of his artistic action. Once here—hopefully in time—he will inhabit the space for the entire duration of the festival, and he will cross it in various forms, modulating intersections and meetings. Mårten Spångberg fully matters in this issue, too. He is presenting a book that is not a book yet, which he started on his blog with 47 posts. For the moment, he has decided to end it during the festival.

However, it is also important to say that even though the objects are very few in this festival, they have the same force of a human being. The relationship between animate/inanimate has to be re-discussed. In some works, we could also talk about animism. The object, in a certain context, generates reactions. It is active, not in terms of the exhibition obviously. For example, in the work of Alix Eynaudi, the object has the same power of a living body. Something similar we could say aboutGoodiepalʼs waste or his squandered goods.

I. 2# FRACTAL ENCOUNTERS It is interesting that polysingularity lives in random encounters. It is not the negation of the other. It is the result of unstable and unsteady connections, therefore it is a more fluid form of society. It deals with approaching and leaving tactics. In some wayGianny Päng is a polysingularity figure. You should read Riccardo Benassiʼs sub-editorial, or the text by Lucia Amara of the last year in order to understand what Gi?anny Päng is. Its presence serves as a meeting area. It is no coincidence that in the LAW there are many artistic couples resulting from random encounters, teams created for the occasion. The collaboration between Dracula Lewis and the American video-maker of Out4Pizza is part of this issue. But letʼs also think about the urgent needs concerning Marcel Türkowsky and Elise Florenty. It is no coincidence that Lewis and Helms have also record labels. They produce other artist and this aspect makes them not only exposed egos, but also filters.

II. SQUATTING MAMbo. SPATIAL AND HUMORAL PERMUTATIONS The festival takes place mainly at MAMbo. Live arts in a place that is actually designed for death arts. MAMbo is used as a mono-block, not in its articulation. We are going to use only the large space on the ground floor. For the entrance of the museum—that is a large and empty area, difficult to imagine functionally—we decided to work with the matter in order to break this totalitarian architecture.Canedicoda has thought to make it accessible, putting in communication inside and outside. Its set-up starts from outside with a wooden sculptural intervention, and then proceeds in the interior, creeping into the cavities. On closer view, at present time, the encounter between Xing and MAMbo is extremely mature. They are two realities which have experienced different paths and which they confront each other in an adult way. When the museum area was redesigned, it would have been great to see it living soon after. Doubtless, there would be another impulse, more intuitive and natural, to redesign even Bologna in terms of culture. MAMbo, once a Museum of Contemporary Art, took made the decision to become a Museum of Modern Art. On the planning in relation with space, we imagine a constant mobility. There will not be any object or installation in the museum. We do not use stages or similar things. We intentionally do not want to introduce art with its recognised stereotypes. We do not consider works—performances, shows, lectures, concerts and live medias— defined objects but we think that they represent a multidimensional flow subjected to combination logics which give rise to a complex matter made of occurrences in space. For this reason, we decided to begin the evening events without indicating the fractures in the show schedule. We want to recreate stop hypothesis rather than the Way of the Cross logic. The basic idea is to create an environment, a context, reasoning also about the forms of social relations.

II. 1# RESOCIALIZING THE CITY Ten years ago we began to re-socialize Palazzo Re Enzo. The opening of that Medieval compound in the city center—used for private dinners or fair exhibitions— towards the new technology and the post-rave behaviours was an extreme forcing. Then it was brought back to normal and so it did not make sense to exist anymore. With respect to MAMbo, the bet is the opposite. We completely denuded ourselves of technology and we are working on body and behaviour nudeness. In this technical undress, there is nothing related to body art: we are in front of landscapes where categories look for different loads rather than for the parental authority. It is a dis- positioning operation. The challenge consists of understanding how to make live and carnal such a cold place. “Trying to make a museum live is like trying to fuck in a mortuary” someone said. Actually, it can be simply considered a location with rigid structures. Even the hall of Palazzo Re Enzo was a difficult place to handle. Today, after 7 years from the overturn of that cube, we have another one that we will turn into a place and if we will fail, we would not insist on it. In the word games it represents an occupation in time and space.

II. 2# ITALIAN GUESTS Reasoning on the programme, another important aspect of the creation of the LAW is that the Italian guests are Xing productions. We intentionally took choices on Bologna. Letʼs think to Muna Mussie, Daniela Cattivelli with Michele di Stefano,Riccardo Benassi. It is a reflection on XING politics and an assessment of the city and of what is happening in Italy and Europe. We want to value to the utmost what has been cultivated over the time in more restricted situations and to give visibility to what was born in the neighbourhood and deserves to have the right display. It is a generational discussion in terms of market and circulation in the production system.

II. 3# NOT ONLY THE MUSEUM… Besides MAMbo, we tried to find other contexts in the city in order to articulate different registers. High-low for example. Last year the LAW was designed with spaces which had their own temporal density. In this edition—even though it is less articulated—places have extremely different temperatures. We tried to interlace relations even with more informal environments such as the senior centre or the Saturday bio market. We want to give to anyone the possibility to react in a different way: from the darkness of the basement of Pincio, once an air-raid shelter in the heart of Montagnola to the museum space, from Palazzo Pepoli to Cassero for the final weekend. For instance, Cinema Lumiere will be showing a film made by Pierre Huyghe as an impossible investigation on time-job of the keepers of a museum destined to be closed. They are filmed in specific single actions, in the three emblematic days of the invention of the capitalist spare time (Halloween, St. Valentineʼs Day and the First of May).

III. NO PACT, JUST (NEO)-LANGUAGES The LAW is not a thematic operation. Most of the attention is paid on the languages rather than on the pacts, so it focuses on something that comes before the pact. And probably pacts are agreed and broken much faster than one could think. We have a long twentieth-century history about the communities that manage to assert themselves as new models, which tells us how was it difficult and uncertain. The selection of works is apparently elementary. Actually their length is something very carefully thought out and calculated by millimetre, they are a controlled construction of the relationship with the others. These plays interlace invisible complexities, inner ramifications that remain there abandoned for further interpretations. For example, the performance ideated by Sara Manente titled Faire un four requires a certain sensitivity, a desire to grasp the fineness, the stratification of the work. Junko works on the examination of yell and he sets up a concert based on a language-edge as a form of expression, structuring it. Eszter Salamon bases her action on micro language phrases. Daniela Cattivelli works with two persons who imitate the sound of birds in order to open a discussion about sound mimicry. The language, languages, the polylingualism, the linguistic restrictions and the invention of other alphabets and way of communication are urgencies in this festival. The neo-languages—that come out in different ways—are probably the attempt not to take part of an order, but to create relation instruments.

IV. THE PUBBLICATION All the works that will be presented at the LAW last thirty minutes. They are like Haikupoems. Therefore, we decided to develop a larger publication than that one released the last year. The LAW is also the result of our research and it is extremely difficult to condense it in thirty minutes of action. For this reason, it has been important to create solid tools for a later reflection on it, a sort of help for memory. Having these documents is not having a gadget. This publication is a very important part of the issue. During the planning of this edition we thought that it needed to be transformed. The idea was to show at least two works per artist in order to display several possible views. But at the end it has not been possible. We decided to make materials closer to artists, written by the artists, theoretical texts, reprints that could put in resonance and friction the different choices. And it is not by chance that we decided to reprint a text by Melanie Bonajo, a Dutch artist, composed by many hands from the entries on Wikipedia. For example, a winding question in the festival—which we did not intentionally look for—is the feminine, interpreted as sensibility rather than as gender. A Mårten Spångberg reprint about affection-effect brings into focus emotional approach vs planning. It is also a text that sounds like a challenge for those who work on organization: stumbling upon the mistake, looking for the impossible. This kind of operation concerns not only the artists but also the curators. So, what we are doing is walking through these territories, and then we will express our opinion, at the end of the festival, observing the reasons that stand out.

Live Arts Week II

The second edition of Live Arts Week, curated by XING in Bologna, will be held from 16 to 21 April 2013 at MAMbo and other locations of the city. CURA has interviewed the curators (Silvia Fanti, Andrea Lissoni and Daniele Gasparinetti) and Riccardo Benassi, one of the artists involved in this unique event dedicated to live arts.

After the debut in 2012, Live Arts Week is now at its second edition. What has remained the same and what has changed in comparison with last year? XING: One year of experience allowed us to work better and to distance ourselves from the heritage of F.I.S.Co. and Netmage. This has generated a vision and a curatorial practice that are more compact and organic. The vision has thus be built onto several axes in a common space (MAMbo) and the schedule of events has been enriched by its own contradictions. The articulation of the program at the museum is in reverse more fluid and it aims to communicating to a unique public, not to several different publics intersecting the one with the other. It communicates to its single (or, better, multi-single) elements. Beside this irradiation of differences, Live Arts Week is animated by other environmental interventions and installations, located both in popular or unknown places of the city. Our field of investigation is subject to an ongoing, permanent renovation. In comparison with last year we can say that we look at the same things, but these things are renovating, joining and separating the one from the others, building new combinations and thus becoming completely different. What or who is Gianny Päng? XING It’s the normal biological evolution of Gianni Peng. Its uncertain identity is redefining itself, accompanying Live Arts Week through its different editions.

The schedule of live performances includes interventions by some of the most interesting figures of contemporary research but also by younger artists: is there a criterion in the organization of the balance of the event? XING The need of investigating what are live arts and which are their limits is not conditioned by age. We are more interested in working on the disequilibrium (we, the authors, share the disequilibrium with the public) than on the equilibrium. We have looked for linguistic inventions, roots, positions and, as always, beside the introduction of single international figures, we reaffirm the strong interest on Italian artists, such as Daniela Cattivelli and Michele Di Stefano, Riccardo Benassi, Muna Mussie, Dracula Lewis, Sara Manente, together with Invernomuto and Canedicoda, involved in other positions that are only apparently collateral, but are central to the identity of the whole project.

How did you begin to work on the performative environment Techno Casa? RICCARDO BENASSI I began working on Techno Casa during the two years I spent continuously relocating in a dense Mittel-European metropolis. The idea was born from a new love rooted in my mother country, from the daily necessity of working on different things at the same time and executing contemporarily several tasks. It was born from the abandon of my studio and of the production ideas connected to that, from the so-called European austerity rules, from the purchase of a touch-screen smartphone, from my personal come back to performance, from the idea of generating a new neo-realism, capable of challenging, unlike its predecessors, the total absence of reality.

The project is divided in several moments, defined as attachments. What will be its evolution during the events? RICCARDO BENASSI Everyday is not a new day, but I’ve never understood why an idea (landed on reality in the form of an artwork) must be always identical to itself… I think that there is nothing worse than the ideological dogma of coherence.

What is the relationship between space and sound in this work? RICCARDO BENASSI Cell phones have replaced design in the mediation between us and the space – all the instruments we had used to surround ourselves have become invisible. The final victory of objects has been revealed in the total disappearance of every object. Techno Casa has a sound whose function is that of attracting the attention, similarly to the polyphonic ringtone of a cell phone: it’s an ever-repeating melody which we cannot get used to. On the contrary we hear it even if it is not present.

Venues: MAMbo – Museo d’Arte Moderna di Bologna – Via Don Minzoni 14 Cinema Lumière – Via Azzo Gardino 65 Garage Pincio – Via Indipendenza 71 Palazzo Pepoli. Museo della Storia di Bologna – Via Castiglione 8 Cassero – Via Don Minzoni 18 Until April 21, 2013

BLENDED GAZE – GIANNY PÄNG by GIANNY PÄNG 23 April 2013

* This is an ongoing and fluid blog-post, continually updated and edited. The post collates texts, notes, reprints, interviews, photographs, drawings and recordings produced by different figures melting into the “person” of Gianny Päng. “Right to the house”. Iʼve borrowed this concept from Henri Lefebvre, thinking over works (and attachments) by Riccardo Benassi. Starting from the analysis of infrastructures and objects as material supports of our daily life, does he create a sound-visual universe which tries to resist the urban manifestation of economies of scale and the technological changes influenced by the potential market of globalization? During the LAW, each nightly projections by him seem to deprave the spatial infrastructures which surround our lives by mapping a new sentimental landscape through the relationship between the image and a strange contemplative – and theoretical at the same time – flow of words.

°°°°Defusing and making flexible MAMboʼs monolithic structure and its totalitarian architecture°°°° Drawing the space. I met Canedicoda. He is a tall and thin gay with big round glasses with a transparent frame. He built some wooden wooden sculptural interventions, in the different spaces of MAMbo, in order to create a new environment, a new idea of occupation.

Canedicoda told me: ”I use to start with the design, using different materials: fabric, colors, cloths and wood. What I do is simply drawing the space. By changing and declining materials, the result varies. I appreciated MAMbo. Palazzo Re Enzo is for sure an amazing place, with its specific history and its peculiar pattern. But I found really interesting the choice to make MAMbo the center of this yearʼs Live Arts Week. After all, the conception of the festival somehow changed, as well as the proposals, and therefore the target, if we want to call it that. People who come here are maybe more inclined to follow and listen. It is a great change to me…

I found the space sufficiently aseptic but, at the same time, flexible. It allows me to do more or less anything I want… Every night it changes according to performers and musiciansʼ needs. I decided to draw a kind of arch around the entrance, it is meant to be a gateway connecting the inside and the outside. These wooden dowels, apparently broken down and bound together, in different colours and shapes, to me are like kidsʼ blocks (“lego”). It is a primitive approach. From my point of view, the central issue is still drawing the space. Drawing”. I saw two girls in the middle of the huge MAMbo space. They were presentingDance#2. Eszter Salamon and Christine De Smedt. Dance#2 is a performance based on a dialogue between these two girls, generated by language games, assonances, vocalic sprains and word anagrams. Sometimes it comes in by contact (when the two performers utter words in unison), sometimes it is based on the production of gestures that refer to sentences or words. Linguists define it “Speech Act”. Here, far from any formula, they are simply showing the mechanics of language construction and the ways in which it can involve and undermine the grammar and syntax systems. In addition, they are showing how the hand-to- hand linguistic expression is able to appear in other places other than in podiums, frontal approaches or academic speeches, which are disembodied, i.e. they lack in the body of the Other. In Dance#2, the peculiarity of this linguistic device has to do with time. This specific quality of “timing” is developed in a process that takes place around the audience. The timing of the dialogue (which is held by the two performers) is based on the timing of the audience, who dictates it with the outbreak of a surprise, with the gesture of tracking the production of the following phrasing and waiting for it, with the burst of a laughter or an exclamation of astonishment (even internal and not shown). And therefore, the timing rules of this dialogue are established by the audience. If the language is not the current one, if the chosen language (English) isnʼt comprehensible by everyone, it might not be understood which is the most important nucleus of the event, this is to say the playful and idiotic element. But the game, by its nature, transcends languages and rules. And what if we try to get in touch with this glossed English rather than inferring information or knowledge? What if the neo-language produced by these two artists is considered the exposure of an apprenticeship? Or rather a process of verification and renegotiation of production forms?

After Junkoʼs performance. I wondered why the public didnʼt started to scream, until the very end. Or why we didnʼt leap up. Cause that thin and almost invisible figure, immersed in obscurity, intensely and insistently screaming, seemed to require a much more physical, bodily and strong reaction. You usually would reply to violence with violence. This is what usually happens at concerts when a brutal energy is transmitted from the singer to the listeners. You would feel the need to release that energy with your body. You would sing. You would scream. You would start moshing. I enjoy it. Were we bounded by our own constructed behavior conventions? By the fact that the space was arranged with pillows where we could sit? Or, instead, were we paralyzed? Probably the most estranging thing, the one that paralyzed me, was the paradoxical relationship between what I could hear and what I could see. She colonized my ears with her voice for 55 minutes (someone said). Unamplified. Natural. Pure voice. Extreme voice. Overwhelming. Obstinate. Relentless. But her body and her movements were calm, controlled, quiet, gentle, delicate. As if that voice didnʼt come from her body. She looked like a innocent child humming sweetly and rotating on herself, playing alone Ring Around the Rosie. She was in fact screaming obsessively. And also, she was a woman… Unlike other people, I wasnʼt struck by her endurance, her virtuosity, her technique. Nor by the fact that that voice was pure phonè, a vocal emission without any need to articulate meaning, the triumph of sound over signification, or a perceivable vibration going through the air and inundating me. I was struck by this paradox of an extreme and radical vocality that does not have any bodily counterpart. A body that doesnʼt speak, but that appears to be spoken. A violent vocal flux reaching the point of a warm and bright sweetness. I couldnʼt (re)act. That voice asked me ecstatic, astonished, petrified contemplation.

I feel the scream. I feel it, not only hear it. The scream doesnʼt penetrate my mind, but my body, it goes deep into my body. My mind elaborates thoughts on the anthropology of screaming, on the fact that a Japanese shout is completely different from an Italian one. Maybe from a Chinese one, too. Iʼve never heard this kind of shout before. Itʼs thin, itʼs structured in little phonemes, itʼs made not only of vocals but also of consonants. Maybe inside the shout there are true words, not only sounds. Maybe. The shout is continuous, constant on the same key. It doesnʼt increase, develop or expand. It could be eternal. Is there desperation inside the shout? My mind doesnʼt understand. Itʼs so different from all the already known shouts. Itʼs the original and eternal shout. Itʼs the Urschrei. My body, instead, discovers that it could get used to everything. My mind thinks that a continuous and absolute womanʼs shout couldnʼt be tolerated. However, we can tolerate it. My body gradually sinks to sleep. Maybe itʼs horrible. But I canʼt stop my feeling. And I canʼt stop her screaming. “Tout ce qui jʼentend est le cri… je ne sais pas comme vous faites à negocier avec le cri”, Claude Ridder said. But itʼs only an ethical hope. The body can, now I know it. And the mind could follow it. http://www.youtube.com/watch?v=0Ochu9Q_csg http://www.youtube.com/watch?v=0Ochu9Q_csg

Fifty-one on the Infinite Plain by Tony Conrad. When the space opened before the performance, I didnʼt find the large number of chairs I was expected to see there. In the big ground floor of the MAMbo there were several Arabic carpets lying on the floor. I lay down and while I was listening to those strings (amplified violins, bass, viola, cello) – which seemed wind instruments of archaic rituals – I felt that there was something very meditational and terrific at the same time… Someone told me that it originally premiered at the Kitchen in 1972. The first title was Ten Years Alive on the Infinite Plain. It is composed of a live string performance and features multiple film projections. “Iʼm old, I like long durations!” The first thing that I asked Tony Conrad is “What is the significance of re- proposing Ten Years Alive on the Infinite Plain (1972) today, after so many years?”. I wondered what his urgency was. He said that the first risk was nostalgia. The fact that all this may result in a backward movement. This is not what he wants, he doesnʼt take care about that. He is rather interested in working in the present moment. From today. Placing himself and acting here-now. For this reason – he revealed – I revised the score/non-score of the performance by introducing several innovations: sounds and noises that were not there in the original version and two projectors more. Nowadays, to re-enact, re-present, re-visit are activities that I have constantly to face. Perhaps, more simply, they are irretrievably part of our time. There are artists who have developed a whole theory or pseudo-theory about that. Marina Abramovic, for example, has developed a real methodological apparatus, almost a sort of a series of best practices, dealing with the re- performance of her historical works. Her model is aimed at the re- presentation, investigation and conservation of the performances in the museum context. The only way to propose, communicate and preserve today time-based events of the past – Abramovic says – is to re-enact them. The re-presentation of the FIFTY-ONE on the Infinite Plainʼs at the MAMbo would seem to indicate its subtraction to the present time in order to place it in a universalizing space-time neutrality, almost like in the Abramovicʼs re- performance. Actually, it is exactly the opposite. In Tony Conrad, there does not seem to be any philological, historicist or self-archival instance. Or maybe it is a different way of thinking over history and art work. History is not a line and art work is not a point, but rather a journey, a path, a movement. It re- relates every time to the present time. It has its value now. Not as a document, a shadow or a surrogate. It is not a residual trace.

In the Live Arts Weekʼs program there is written that one of the reasons which led Conrad to return to Ten Years Alive on the Infinite Plain is the fact that its imagery so closely linked to the ʻ60s and ʻ70s – to the minimalism, the structural film and the abstraction – has now become a reservoir of incentives for younger artists. But another reason is the awareness that these kinds of works “can trigger different plans related to the real and therefore can represent a political critique of the materialistic society”. In his On Duration (re-published in the dense catalogue of the LAW) we can find elements of reflection on the subversive potential of the present re- proposal of an event which was conceived in the early ʻ70s. This short text begins with a brief cultural history of time and duration, of their progressive regimentation within the chronometer temporality of clocks as instruments of discipline, regulation and social control linked to the capitalist labor market. Given this framework, the adoption of extended durations – so characteristic of a range of research in art and music in the ʻ60s – is interpreted by Tony Conrad as a direct attack against rationalism and chronometer temporality, as “demonstration of the non-linearity of experienced duration” and as a paradoxical reversal of the function reserved to cinema and music in the bourgeois society: a device to escape and a distraction in the context of a more general sublimation of free time. According to Conrad, those durations made immediately evident the premises and the promises on which the show was held, by overturning them. They “implemented a sense of duration that was even longer than ʻlongʼ. Duration, that is, was exposed as non-linear, as paradoxical, as capable of overturning the psychic state of bourgeois expectation”. Perhaps, this is (still) right the challenge that the re-performance of an event as Ten Years Alive on the Infinite Plain offers us today. Cutting a space-time which is absolutely another one. And if we ask ourselves whether this kind of space-time is still able to take action today on our refined and a bit snob expectations, well, I can speak for myself but Iʼm Gianny Päng. Maybe it is not a simple coincidence that most of the hallway conversations that I came across at the end of Fifty-one Years on the Infinite Plain, 41 years later, focused right on its duration.

The dates are three. 1972, 2013 and 2023.

>>>Since I am a post-annalist historian, I have some difficulties<<< The first [1972] is the date of the event. The second one is the date of its reconstruction (maybe archaeological?). And what about the last one? Historiography does not contemplate any deferral and neither builds [writing] in the horizon of expectation. Fifty-one on the Infinite Plain takes by surprise the archivist (because) it puts up again after 41 years [2013] a debut. In 1972, this debut gave rise to a substantial change and made it possible its development. My problem is its date. I am obsessed with the number 51. Which is the hidden story in those ten years post quam-post quam? Why is it 51 [Fifty- one…] instead of 41? I know that there was placed a fake date, but by now it is inscribed/written. The answer is not in the call for the rigour of an archaeological gesture and neither for the protocol of names and places of a presumed history. My place, my story lives in these ten years. I became aware of it during the public exhibition of the recovered object, brought again to light. I recover/reconstruct the “series” but I will not close it. An event like this has an actual effect, which will last in a latency state, opened to a new inauguration. It maintains this state, which can be arbitrarily post-dated. History never gets into this poetic deceit and mystery of time. Seminal, as a concept, is used in order to protocol. Institutions use it to write books and build time. Seminal refers to “the seed”. Here the gaze sows, re-sows, is sown and in-sown. There will be a new post- dating. The appointment will be in ten years. The infinite gesture.

When a bird sings, it is telling you what it is and where it is. It is true, isnʼt it? Uit Uit Uit Uit Uit Uit Uit Uit miaow-raow miaow-raow pk-pk-pk-pk-pk- pk-pk crr crrr crr crrr Uit Uit Uit Uit Uit Uit Uit Uit ciok, ciok, ciok – pin pin pin tourtiu, tourtiu, tourtiu Iʼm sure about it. UIT by Daniela Cattivelli deals with the ability to investigate the materiality of the voice. The human voice is closely linked to the point of articulation of sounds, therefore to the body of the speaker. It is the art of guiding the body, isnʼt it? I have read a book in which one character, who explores the practice of making oneʼs voice appear to proceed from elsewhere (ventriloquism), starts his analysis considering the body as an instrument of the voice. On second thought, the sonorous emissions from the nasal-oral cavity are produced by the vibrations of the vocal chords, as a result of a rhythmic-nervous excitement, in a close relationship with the whole corporeality, so that every gesture, including the vocal gesture, is supported by the posture, which is a muscular visceral state connected to the bodily orifices, for example the mouth (which is the most important orifice). Hearing a voice is actually listening to a body in motion, with its cavities, its mucous membranes and cartilages, its intra-muscular plays and its empty and filled spaces in the passage between inside/outside (emission) and outside/inside (input). Voice/Sound implies hearing. We could say that it is hearing. I realize that this is a work on the inhaling/exhaling of breath. When you hear something, where do you pay attention to? Birdwatching Birding Birdcalls If I think about the unique feature of the human mouth, I should recognize its ability to serve as a mobile resonator which can change the emission forms to undergo timbermorphing.

So what happens when the phonatory organs simulate the sounds produced by a syrinx or the air sac of the bird? crocè, crocè, crocè trouiciu, trouiciu, trouiciu trutrutriu, trutrutriu, trutrutriu triò, triò triò troici, troici, troici trii tru i, trii tru i, trii tru i Daniela Cattivelliʼs phonetic score borrows the imitation techniques of the bird sounds. The performance develops through breaths, aspirations, inspiration, whiffles and syllabic patterns that produce a precise rhythmic vocalization assisted by individually tuned bird calls, birchwood and metal instruments, which are able to make a variety of sounds similar to a lark, a blackbird, a thrush or a throstle. They give rise to a real voicescape, in the sense of an auditory landscape, where the evocation of a single event (a singing bird) is stratified into a complex acoustic framework by means of a live electronic manipulation of sound emissions. This vocalic entity – expression of the materiality of the body that flows from the throat, where the phonic metal is forged – generates a rhythmic-phonic- sonorous score modeled through different devices to identify birds who are hidden by dense foliage, faraway birds, birds at night and birds that look identical to each other… Daniela Cattivelli and the two skilled imitators becomes vectors or carriers of thisvirtuosic grain of fake bird sounds into a new language to rediscover their physical and instinctual values (excluding the functionality of the voice in its role as carrier of language): controlling the pitch, changing the tension, controlling the volumes, changing the force of the inhaling of breath and changing lip vibration. UIT has to do with the notion of imitation (mimesis, mimicry, simulation), recognition, sound localization and spatialization, nature watching and reproduction, listening and recognition, hiding and exposure, punctuation of the bodily presence and animal becoming of the human voice. They are survival techniques (protection against enemies) and strategies of seduction, control of the experience and of cultural information. They are camouflage tactics.

Does imitation mean mockery? I donʼt think so. I would rather talk about a game >>>to get a spell<<<. Iʼm thinking about Roger Caillois (animal mimicry and play/game), about the ornithologist Paul Slud or about a village fair. Someone may think that this performance is a trap, a scam or a sham. Or maybe other people could suppose that it is a way to distort the signal. It is not a simple interference, an unintentional form of disruption! It is an action of >>>Jamming<<<, i.e. a deliberate use of sound waves or signals in order to disrupt communications. It is a misdirection technique.

The bird sounds spread through the air and penetrate my ear. As the surveillance centre that channels the degrees of distance and the rhythm of the sonorous vibrations, I felt forced to negotiate the reliability of my own perception. If the auditory function (according to Alfred Tomatis) is not simply the passive ability to perceive, but also the active desire to listen, this bird score – that is the event and the exposition of the same event – moves towards the rediscovery and exhibits the relational singularity of existing in the field of the audible.

Goodiepal (alternately spelled Gaeoudjiparl or Gaodjiperl) DIDNʼT come by bicycle It was supposed to come here by his custom-made bicycle from the Faroe Islands. Iʼm thinking. What does it mean that the composer/performer Goodiepal – wanted by the Danish police authorities for an unsolved theft from Royal Academy of Music in Aarhus – couldnʼt come with his white and green vehicle? For now I want to focus on his configuration of objects (nuts, tea bags, umbrella, screws, recording tapes, pens, notebooks…): relics, rests, leftovers of his chaotic mental and factual itinerancy able to maintain several centers of gravity…

The CD box set Destroy all Monsters 1974-1976 includes the text “Destroy all Monsters interviews itself”. What does it mean to interview oneself? To look at oneself? As a plural identity? As a simultaneous and heterogeneous entity? Well, they probably donʼt answer these questions. But nevertheless they give to each other interesting replies. When Mike Kelley asks “Does your music stem from any kind of ideological sources?”, Jim Shaw replies: “I basically donʼt believe in anything”. When he asks “How do you think that all these different ideas that everyone in the band has work together?”, Cary Loren simply states: “It doesnʼt work together”. Gianny Pängʼs cross-eyed, incoherent and “polysingular” gaze is perhaps an exploration of how these different identities might signify. An exploration of the possibility that it “could” work together. In some way. Will Gianny Päng interview itself?

[...] † I act in the field of the Letter. Itʼs my cup of tea. It is a precise program of tactics and practices that perform in writings. The procedure has to undermine the Author (the Authority) and give the impression of being in the places of the production, but actually it stands on the verge of his weaknesses. The story of the abjection of the “I” began in 1920 with the release of The Decline of the West. Oswald Spengler was my first name. Then history continues (and has continued) with textual and extra-textual aspects of different nature: from the commentary to the gloss, from the footnote to the in- calce, from the “paraphrasing” to the reprint, up to the photocopy, the facsimile and the plagiarism. *** The distracted West does not read the first work of its author *** (to be developed) And Gianny Päng, me, could act and publish undisturbed. I wrote the Postille to Friedrich Nietzscheʼs The Birth of Tragedy (by Rilke). I edited – in a philologically unexceptionable way – the manuscripts by Walter Benjamin that I found in the BnF in Paris. I translated the Esthetique de lʼImmonde. I copied some passages of The Principle of Hope and I made it flow, diluting it in the stream of my writing. I can do what I want in the name of a recognized identity (but unknowable). I work at the sides of a shortfall. It does not mean to look over your shoulder. Under the guarantee of the supreme law of the quotable gesture. I move – effectively – in the surplus. It is the surplus that neither the economic or the bureaucracies apparatus (of the research) consider a value, but that they archive under the nomenclature of deficit. My presence/action here, now, attached to the bleed of time in the field of the Other, to the logic of a bastard meeting, gains a new “figure” and “quality of being”. That of the enjoyment (jouissance) and the game. I bite my lips and look forward to get news from you about the possibility of preparing – or stopping, it is the same thing – the night of the West, if this could still for a while string along the a(A)uthors Yours sincerely, Gianny Päng

BLENDED GAZE. GIANNY PÄNG by GIANNY PÄNG is an independent project around Live Arts Week II, curated by Piersandra Di Matteo and supported by NERO. GIANNY PÄNG is the name that goes with the Live Arts Week, festival dedicated to live arts that hosts productions which revolve around the presence, performance and perceptual experience of sounds and visions, in Bologna, Italy. Close to an abstract concept, GIANNY PÄNG is the figure of a graft-between- worlds and cultures. Not a subject of identity, rather a phenomenon. Maybe an opening to the becoming of the subjectifications. It embodies a multi- belonging. Any Chinese, any Italian. These references neutralize, in their proximity and combination, any idea of belonging. He/she/it is not a fact but a factoid. Gianny Päng, in an ingoing-outgoing dynamic within the Live Arts Week II – Bologna 16 > 21 April, 2013 – enacts its bastard gaze, expanding the notion of poly-singularity (keyword of the festival) and analyzing the capture of speech connected to “Iʼm saying”. BLENDED GAZE collates texts (notes, reprints, interviews, photographs, drawings, recordings…) produced by different figures melting into the “person” of Gianny Päng. They creep into the live processuality of the works presented at the festival, within their interstices, in order to negotiate a position in relation to what is happening. Diaristic traces derail toward something theoretical, impressionistic and abstract, using different linguistic registers. Through epileptic reversals of the eyes, revealing a black out of thoughts and memories, without being interested in the possibility to tell what happened, these materials detect the disturbances, the strabismus, the irreconcilable inversion, the autonomization of the gaze. And its nature, sprinkled with the Real. GIANNY PÄNG is Irena Radmanovic, Elena Biserna, Luca Mattei, Michelangelo Setola, Piersandra Di Matteo, Giacomo Covacich, Lucia Amara, Elena Pirazzoli & Guests

La Gianni Peng/Live Arts Week è una manifestazione annuale della durata di una settimana che si svolge a Bologna e nasce dalla fusione di due festival preesistenti: F.I.S.Co e Netmage. Organizzata dal collettivo Xing e giunta alla seconda edizione, la Live Arts Week vuole analizzare le modalità espressive dei linguaggi performativi orientate alle esperienze percettive e sensoriali che ne derivano. Al centro del progetto c’è quindi un obiettivo di ricerca: la conoscenza del modo di rappresentare i live media e la configurazione dei rapporti che la condizione della performatività istituisce con i partecipanti.

In apertura: Photo Moira Ricci. Qui sopra: Mårten Spångberg al MAMbo: lecture performance & imaginary book launch che ha anticipato lʼuscita del secondo volume di Spangbergianism. Photo Gaetano Cammarota

Se le precedenti attività del collettivo erano soprattutto incentrate sulle forme del gesto performativo (F.I.S.Co, 2001-11) e sulla natura dell’immagine nell’èra digitale (Netmage, 2000-11), Gianni Peng si è dedicato alla ricerca su che cosa c’è, sta dentro o transita nei territori della prassi fondata sul tempo e su ciò che ne collega e combina le risorse, gli attori e i momenti.

Un momento del concerto Den Doozle! di Sun Araw, nome d'arte di Cameron Stallones, musicista statunitense (Austin). Photo Gaetano Cammarota

È in realtà l’analisi di questo spazio interstiziale a dare il tono generale alla Live Arts Week di quest’anno. L’analisi ha innescato un dialogo tra danza, coreografia, performance, arte immagine in movimento e musica non fondata tanto sulla fusione e sulla combinazione delle specificità di ciascuna prassi e sull’unificazione dei relativi linguaggi, quanto sulla produzione di un flusso continuo di proposte che (presentate ed esposte in un luogo spesso comune) hanno creato associazioni e fratture vivacissime.

Monique performance del coreografo Alix Eynaudi. Performer: Alix Eynaudi e Mark Lorimer . Photo Gaetano Cammarota

Una parte sostanziale degli eventi è stata ospitata al piano terreno del MAMbo. Non trattandosi di un contenitore previsto per linguaggi diversi (un ambiente neutro, un teatro, una sala da concerto) né dotato di retroterra storico, lo spazio si è prestato nel corso di tutta la settimana a una continua reinvenzione adattiva. Anche gli elementi costitutivi dell’ambiente, le strutture di accoglienza, esposizione e ospitalità ideate da Canedicoda con Mirko Rizzi apparivano intenzionalmente precarie e transitorie. Fatte di legno riciclato e di plastica avevano un aspetto instabile come se stessero per sbriciolarsi e diventare qualcos’altro.

Le strutture di accoglienza, esposizione e ospitalità ideate da Canedicoda con Mirko Rizzi al MAMbo. Photo Moira Ricci

Ogni gesto alterava la morfologia e la percezione dello spazio, come è accaduto nel corso delle quattro accoppiate che costituivano il programma di venerdì 19 aprile. La serata è iniziata con uno straordinario e smagliante evento di tono neo-hippy, presentato dall’artista e teorico svedese Mårten Spångberg con il musicista Lune, cui sono seguite le sonorità aspre, rumoristiche di Joe Di Nardo di Growing, combinate con la proiezione in formato 16 millimetri di cinque brevi, astratte sequenze realizzate dalla filmmaker sperimentalista Rose Kallal, che hanno dato vita a una performance audiovisiva inquietante e stupefacente.

Elise Florenty & Marcel Türkowsky, We, the frozen storm. Installazione audio-visiva, produzione Xing/Live Arts Week. Photo Gaetano Cammarota

È seguita poi U$e Your Illu$ion$, fantasmatica performance audiovisiva che fonde la fantasmagoria dell’estetica post-Internet di Out4pizza con l’eco spettrale di sonorità post-Dub e la voce disumanizzata di Dracula Lewis. Continuando sulla via del contrappunto tra euforia luminosa e micidiale oscurità la serata si è conclusa con un concerto di Sun Araw, che ha unito improvvisazioni di rock psichedelico e roots con la proiezione di una sequenza video che rappresentava il cortocircuito del rapporto tra un leopardo e il suo riflesso. Tra gli altri momenti notevoli una riedizione della performance filmica Fifty-one Years on the Infinite Plain (1972-2013) di Tony Conrad; Dance #2 di Eszter Salamon e Christine De Smedt, che hanno intessuto gesto e parola; il delizioso concerto di Helm (Luke Younger), che ha trasposto il rumorismo in una dimensione ipnagogica, ulteriormente analizzata dalle deliranti, frenetiche letture di Goodiepal.

Anne Juren, Marianne Baillot, Alix Eynaudi, Agata Maszkiewicz, Komposition, MAMbo. Photo Gaetano Cammarota

Il flusso multidisciplinare è stato affiancato da una serie di installazioni e di ambienti che hanno ulteriormente messo in gioco le prassi e le discipline spaziali. Tra queste la mostra site-specific We, the frozen storm di Elise Florenty e Marcel Türkowsky, che ha presentato una serie di immagini, suoni e suggestioni negli spazi sotterranei del Garage Pincio e Techno Casa, favola animista di una sedia corredata di video-saggi di Riccardo Benassi, che ha svolto una lucida analisi dei rapporti uomo, strumenti e tecnologia nell’attuale Antropocene.

Riccardo Benassi, Techno Casa, produzione Xing/Live Arts Week. Photo Gaetano Cammarota

La proiezione del film di Pierre Hughes The Host and The Cloud(2011), concepito come una serie di tre performance negli spazi dell’ex Musée des Arts et Traditions Populaires di Parigi, riproposte in un montaggio delirante in cui sogno, allucinazione e realtà sono indistinguibili, è stata un ulteriore contributo alla riflessione sui modi di abitare e attraversare un luogo, in particolare uno spazio museale. Nella Live Arts Week si è avuta la sensazione che fosse la coabitazione orizzontale di forme diverse in una cornice temporale condensata a permettere al pubblico e alle opere di incontrarsi diventando un’unica – se pur fragile e irripetibile – entità fatta di mille piattaforme.

Dracula Lewis/Out4Pizza, U$e Your Illu$ion$. Photo Gaetano Cammarota

LIVE ARTS WEEK II :: CHI È GIANNY PANG?

Dirigendomi al MAMbo da via Don Minzoni avverto da lontano una sagoma che si staglia dal rigore della facciata; avvicinatomi ho come lʼimpressione che la mostra di Ceroli, non volendo andarsene da Bologna, abbia cercato di opporre resistenza e sia rimasta incastrata in una trasmutazione costruttivista. In verità è lʼintervento realizzato da Canedicoda per accogliere la seconda edizione di Live Arts Week, che ammorbisce gli spazi museali creando nuovi traguardi visivi. Composizioni di legno grezzo pronte a trasformarsi in base alle esigenze dialogano con lʼimmensa Sala delle Ciminiere, dove prende vita il corpus centrale della programmazione. Il MAMbo viene trasformato dalla visone di Xing in un campo aperto di sperimentazione, unʼarena dove la vastità dello spazio è riempita da un pubblico che si mescola agli artisti liberamente, senza barriere. Lʼistituzionalità del luogo sembra aver scremato dalle folle di un tempo quelli in cerca di distrazione, per premiare gli attenti fruitori con unʼimmersione totale. Il programma spazia dallʼuso di linguaggi altamente tecnologici, come video installazioni o esperienze puramente sonore, alla ricerca di una fisicità performativa passando per lezioni teoriche come quelle di Goodiepal ([ ]), lʼultima improbabile new entry della famiglia, e di Riccardo Benassi (Techno Casa). Rimango calamitato da UIT di Daniela Cattivelli che partendo da una ricerca di Zoomusicologia, o dalla pura curiosità per i richiami sonori da caccia, ci presenta la sua incantevole Lezione di Chioccolo. La performance elettronico-vocale è arricchita dallʼapparizione di Gianny Pang in una delle sue mutevoli forme, o almeno credo di averlo intravisto, oltre alla chiusura di impatto commovente con la riproposizione di un Paesaggio sonoro naturale ad opera di due “chiocciolatori“ esperti. Lʼidea di poter mischiare cacciatori e musicisti in una sinfonia collettiva, in uno spazio di confronto che nasce da una sospensione, apre ben altri orizzonti applicativi ad unʼarte ancora considerata di nicchia, ma che si manifesta anche nel reale e non solo in una realtà multimediale. Mentre mi sdraio a terra per abbandonarmi allʼascolto di Helm, chiudo gli occhi e sorrido ripensando alla settimana passata insieme a Gianny, Gianny Pang che mi appare non proprio come un ricordo, più una sensazione del un limbo in cui ci siamo cullati insieme. Mi sento come a casa a Live Arts Week II e mi rilasso a tal punto che mi addormento immerso nel suono, poi uno scroscio di applausi mi riporta alla realtà, ma quale? Andrea Montesi 07.05.2013

“Live Arts Week II” Bologna, MAMbo, 16-21 aprile “Live Arts Week” atto secondo, cresciuto di un po’ insieme alla sua creatura Gianny Päng: soggetto identitario? Persona reale? Pura astrazione che si incarna in un corpo umano?… Non facciamoci troppe domande e diamo un occhio a quel che di buono (non poco) c’è stato anche quest’anno tra performance, letture, concerti, live media e installazioni, tutto o quasi nelle sale del Museo D’Arte Moderna di Bologna (MAMbo). Ecco, se con un rapido rewind, a festival ancora caldo, mi guardo all’indietro, ipnosi potrebbe essere la parola chiave. In primis quella di un fantastico Tony Conrad, che in quasi due ore di purissima trance incantatoria riporta una vecchia composizione del 1972 - Fifty One Years on the Infinite Plain - al qui ed ora, con sei proiettori che proiettano un loop cinematografico in b/n (qualcuno si ricorda del suo celeberrimo art-film “The Flicker”?) mentre un quintetto d’archi spande nell’aria uno straordinario stream of consciousness di drones e overtones. Difficile eguagliarne la potenza sonica; ci prova, in altre direzioni, Lucio Capece, che a partire da registrazioni degli ambienti del museo riesce a dar vita ad un’ammaliante pièce elettroacustica diffusa con speaker sospesi nell’aria su palloni aerostatici manovrati da Luciano Maggiore, Enrico Malatesta e Dominique Vaccaro. E ci prova anche Daniela Cattivelli con UIT, ambiente risonante generato da una serie di richiami per uccelli trasformati elettroacusticamente in un vocabolario di suoni che nel finale si fanno puro stupore, quando la simulazione cede il posto all’imitazione vera e propria di Camillo Prosdocimo e Giorgio Rizzo, due celebri chioccolatori veneti, esperti conoscitori del canto degli uccelli. Il live del giovane inglese Luke Younger alias Helm è stata un’altra gradita sorpresa dopo il successo di “Impossible Symmetry”, il suo disco su PAN. Un set breve ma preciso che riverbera noise, elettronica e acusmatica in un crescendo ben articolato. Con Sun Araw, la sera prima, è stata invece magia della seduzione; Cameron Stallones sembra aver ben metabolizzato l’esperienza dub con i Congos nel già leggendario “Icon Give Thank”, e così nel suo live “Den Doozlet” mette in scena, con l’aiuto di un amico alla drum machine e un simil-clarinetto artigianale, un vivace e coloratissimo nonché assai psichedelico flusso sonoro dove le radici del dub vanno a braccetto con il jazz estatico e visionario di Albert Ayler e Sun Ra, il funky stratosferico di Hancock e scampoli del più trascendentale psych-kraut rock. Naturalmente a “Live Arts Week” c’è stato anche molto altro, dalle imprevedibili performances dell’eccentrico agitatore Goodiepal che si sposta per il mondo con il suo ciclo-bolide autocostruito, al non meno imprevedibile artista svedese Marten Spangberg, dalla perturbante “urlatrice” di Junko fino alle bravissime Eszter Salamon e Christine De Smedt, che con Listening & Mouthing lavorano sulle sincronie di parole che si ripetono e modulano in un irresistibile gioco semantico. Infine le architetture “work in progress” di Riccardo Benassi nel suo ambiente performativo opportunamente titolato Techno Casa, e la chiusura al cinema Lumière con il film The Host And The Cloud dell’acclamato Pierre Huyghe, una pellicola girata dentro gli spazi del Musée Des Arts et Traditions Populaires di Parigi, ora chiuso, in cui l’artista coinvolge attori e impiegati del museo per una serie di azioni accadute rispettivamente nei giorni di Halloween, San Valentino e Primo Maggio. Ed ecco che in questo spazio-paesaggio, a un certo punto più mentale- immaginario che fisico, torna l’idea di ipnosi, di presenza-assenza, che però stavolta non cattura il nostro immaginario al pari di altre opere importanti di Huyghe, Central Park su tutte. Gino Dal Soler INTERVISTE http://atpdiary.com/exhibit/a-proposito-del-live-arts-week/ http://www.neromagazine.it/n/?p=10672&color=C69C6D (ENG) http://www.curamagazine.com/?p=8649 (ENG)

FOTOGALLERY http://bologna.repubblica.it/cronaca/2013/04/17/foto/live_arts_week-56831433/1/ http://multimedia.quotidiano.net/?tipo=photo&media=59288

NOTIZIE http://moussemagazine.it/live-arts-week-ii-bologna/#more-30269 (ENG) http://www.abitare.it/it/performance-2/live-arts-week-2/ http://www.artribune.com/2013/04/un-altro-festival-a-bologna-unintera-settimana-per-le-liv e-arts/ http://daily.wired.it/news/2013/04/15/dracula-lewis-live-arts-week-47827628.html http://thewire.co.uk/listings/live-arts-week (ENG) http://www.exibart.com/notizia.asp?IDNotizia=39830&IDCategoria=204 http://bologna.zero.eu/2013/04/16/live-arts-week-2013/ http://bologna.repubblica.it/cronaca/2013/04/17/news/live_arts_week_la_realt_stravolta_d a_nuove_percezioni-56848268/?ref=twhl&utm_medium=twitter&utm_source=twitterfeed http://www.ilfattoquotidiano.it/2013/04/16/live-arts-week-ii-al-via-kermesse-sulla-sperimen tazione-nelle-arti-contemporanee/563817/ http://bologna.repubblica.it/cronaca/2013/04/16/news/gli_appuntamenti_di_marted_16_liv e_arts_week_seconda_edizione-56707630/ http://www.ilrestodelcarlino.it/bologna/spettacoli/2013/04/15/874155-arte_live_mambo.s html http://www.neromagazine.it/n/?p=10710 (ENG) http://www.goethe.de/ins/it/mai/ver/it10842158v.htm http://radio.rcdc.it/archives/suoni-e-visioni-in-citta-al-via-la-seconda-edizione-della-live-arts- week-116655/ http://2night.it/2013/04/16/live-art-week-edizione.html http://www.enquire.it/2013/04/17/live-arts-week-bologna/ http://radio.rcdc.it/archives/live-arts-week-ii-116552/ http://www.bo2lon.com/news/bologna/live-arts-week-2.html http://julietartmagazine.com/events/live-arts-week/ http://www.scanner.it/arte/LiveArtsWeek5323.php http://urbanpost.it/live-arts-week-2013-a-bologna-programma-e-date http://www.piuemilia.it/news/live-arts-week-le-arti-performative-a-bologna-dal-16-al-21-april e/ http://www.flashmusica.it/eventi/evento/id-24632/day-2013-04-16/ http://www.gaiaitalia.com/2013/04/bologna-dal-16-a-21-aprile-la-seconda-edizione-di-live-a rts-week/ http://www.arte.it/calendario-arte/bologna/mostra-live-arts-week-ii-3587 http://www.donatozoppo.blogspot.it/2013/03/chi-va-con-lo-zoppo-partecipa-live-arts.html http://www.undo.net/it/evento/156232 http://www.e20romagna.it/articolo.php?articolo=22330 http://www.b-a-g.net/ita/news/129/live-arts-week-bologna.html http://www.dlf.it/tutte-le-news/cultura-e-spettacolo/1423-live-arts-week-ii.html http://www.gioventu.org/angWeb/2013/02/21/live_arts_week_155705.xhtml;jsessionid=7d ff81bf39b4fea562eb634ed8ae http://nerto.it/live-arts-week-ii-bologna-from-16-Apr-2013#.UWvVLyt5xRE http://velma-terence.blogspot.it/2013/03/live-arts-week-ii.html http://www.infomuseum.org/arts-week-mambo-bologna.html?utm_source=twitterfeed&utm_ medium=twitter http://www.livebo.it/N-1471-Live_Arts_Week_II___Inaugurazione.html http://blog.casase.it/2013/04/16/live-arts-week-per-una-settimana-bologna-e-la-patria-delle -live-arts/ http://www.flashgiovani.it/eventi/evento/id-24632/day-2013-04-16/

RADIO http://coxospaziale.blogspot.it/2013/04/coxo-11-trasmissione-dell11-aprile-2013.html

CRONACHE http://www.neromagazine.it/n/?p=10624&color=14E3EB (ENG) http://www.domusweb.it/it/arte/2013/05/2/mille_piattaforme.html http://www.domusweb.it/en/art/2013/05/2/a_thousand_platforms.html (ENG) http://www.abitare.it/it/performance-2/techno-casa-riccardo-benassi/ http://www.dromemagazine.com/it/live-arts-week-ii-who-is-gianny-pang/