La voix liberée – Poésie sonore

Fondazione Bonotto returns to Paris with another project to support and spread Sound Poetry. After the creation of Prix Littéraire Bernard Heidsieck-Centre Pompidou, an award dedicated to forms of no-book literature, on the International Poetry Day, on March 21, opens La voix libérée – Poésie sonore at one of the most important institutions in Europe, Palais de Tokyo.

We talked about it with Patrizio Peterlini, Fondazione Bonotto’s director and curator of the exhibition together with Eric Mangion.

How can “sound” be exhibited? How is the exhibition telling the path of sound poetry, from its birth in the 1950s to contemporary expressions? Artists called to participate belong to yesterday and today, between the voices of the past and the continuity of the practices and experiments of contemporary poets. Is this an attempt to highlight the continuity of sound poetry in the artists who still use words and sounds to express themselves?
Exhibiting the sound is certainly a challenge. The solution came from the performative aspect that characterizes the Sound Poetry.
If it is true that those works circulate only and exclusively in the form of disk, or other support, and that the Sound Poetry has developed thanks to the diffusion of economic means of recording, it is in the live execution that it finds its most significant dimension. This is why we have chosen an extremely radical form. “La Voix Libérée” will be a real experience for the visitor, who will find himself alone, in a practically dark and empty room, “forced” to listen to sound. So not an exposed sound but a sound to which one is exposed, and which makes the visitor’s body vibrate. A sound wave that impacts the visitor’s body and propagates into space, inside and outside the Palais de Tokyo.
The idea of ​​the sound wave is central throughout the exhibition.
The history of the development of Sound Poetry will also be presented in the form of a diagram, developed by Anette Lenz, visually presented as audio wave. A story that certainly finds its origins in the Dada and Futurist phonetic experiments but which, in fact, only begins with the advent of the first tape recorders.
For this reason, in addition to the most important events related to Sound Poetry, the main moments of development of audio recording techniques are presented in the diagram realized by Anette Lenz. From the birth of the Vocoder to the advent of digital MP3, WAW media etc.
A story that never stops to develop and that finds many young artists, all over the world, committed to renew it. This continuity highlights the contemporaneity of a practice that still allows a great freedom of expression and research. Once again poetry seems to be the only practice by which the human being, in his own singularity, can go beyond all limits and taboo and freely express himself.

The exhibition has a rich side program, in particular a performance day on April 27th in which six of the most dynamic contemporary poets on the international scene are invited: Tomomi Adachi (J), Zuzana Husarova (SK) Giovanni Fontana (I), Katalin Ladik (H), Violaine Lochu (FR) and Joerg Piringer (A). What is it about?
The whole project was conceived as a sound wave that, starting from the Palais de Tokyo as an emission point, spreads throughout the world. For this reason, we have created an international network of radios, websites and spaces dedicated to poetry and art, which during the period of the exhibition will re-launch the audio presented in the exhibition. We can think of this set of places and radios as several antennas ready to receive the signal emitted by the Palais de Tokyo and relaunch it in the world: from Zambia to Brazil, from Mexico to Slovenia, from Portugal to the United States. I have to say that everyone’s enthusiasm for the project was extremely surprising. We did not expect so much interest in a topic that, after all, is still a niche.
We organized also a performance day that will be live broadcasted on several radio stations. The six protagonists you mentioned in the question reflect the general trans-historical setting of the exhibition. Three “historical” masters: Fontana, Ladik and Adachi, will alternate with three young performers: Husarova, Lochu and Piringer offering completely different approaches. For us it was important, not only to highlight the continuity that characterizes this research, but also to offer to the audience a live experience.

The catalogue too has a sound aspect: indeed you have realized an app containing a series of tracks of historical recordings and some more contemporary. How to create a sound catalogue?
Publishing a disc or a CD could have been a solution. However, we have thought about a more contemporary and innovative medium, an aspect that is always important for the Fondazione Bonotto. Finding new ways, perhaps unusual and surprising, of enhancing and proposing the works and historical topics preserved in the Luigi Bonotto Collection is a constant thought for us. From this point of view, the APP offers us extraordinary possibilities. The first, for example, is the possibility of reaching a potentially unlimited audience. Anyone, all over the world, starting from the opening day of the show, could freely download “La Voix Libérée” APP on their smartphone or tablet, having free access to all the audio presented in the exhibition. The second one, closely linked to the first, is the possibility of reaching a young audience, more used to information through electronic devices than on “moldy” catalogs or “old” records. Finally, the APP can be updated. It could be considered as a changing catalog, which grows over time by presenting new audios. In fact, our ambition is for the project to circulate around the world and grow.

Laura Rositani

La voix liberéeGiovanni Fontana in performance, Roma Photo by Marco Palladini

Adriano Spatola Reading in Como, 1979 Composition of 4 b/w photos by F. Garghetti

Lora Totino: Tritaparole e Mozzaparole, 1972 B/w photograph with stamp and numeration by “LaborItorio Fotografico Rampazzi, Torino”

THE DIAL A-POEM POETS Published by Giorno Poetry Systems, New York, 1972 Two 12” vinyl records

Save the date for a new appointment for independent artists: Artrooms comes to Rome

After the experience in London, where Artrooms is now at its fourth edition, the fair will launch for the first time in Rome, Italy, from March 2 to 4, 2018. We talked about it with the co-founder and director Cristina Cellini.

Is the Italian edition a continuation of the London one? How do the two editions differ from each other? Which is the mission of this initiative?
The format of the Italian edition is essentially the same, i.e. a room for each artist. A main difference, however, is that in Rome we have the chance to enlarge the fair, adding two new sections: Video Art and a Sculpture Park. This has been made possible thanks to the structure and facilities of The Church Palace Hotel, where the fair will take place; indeed, we will use the hotel’s “Auditorium Cinema Bachelet” (with over 500 seats and a Dolby Surround 7.1 system) for the Video Art section, while the Sculpture Park will develop in the beautiful park of the structure. Despite the logistic differences and the new additions in terms of art sections, the aim of Artrooms is always to become a prominent reference point for galleries, curators and private collectors to scout international artists; in this respect, it is mandatory for artists who participate to the fair to be independent and not to have exclusive contracts with local galleries.

The call for artists is open until December 12. How does the selection process work? What are the most appealing aspects of the process for emerging artists?
Indeed, the call for artists will end on December 12. Artists will be chosen by our prestigious Selection Committee, composed by: curator Gianluca Marziani; Massimo Giannoni; the director of Ransom Gallery, Christian Fanneboeck Campini; Tiziana Kaseff Grilly, an expert in the real estate luxury sector; the President of the Italian Young Collectors Association, Antonio Valentino; Alastair Smart, Associate Editor of; and architect Pietro di Pierri, CEO of The Church Palace. In order to enter the selection process, artists need to complete an application form including: 3 pictures of their works (even works, so that we can have an understanding of their style), biography and CV and a description of the project. The latter represents the most interesting part: artists have to tell us how they imagine the exhibition space, and whether they intend to turn it into an artist’s studio or an installation.

In the last fifteen years, the art world has been characterized by the development and growth of many new fairs. Do you think that the traditional art fair should be evolving? In what direction?
It depends on whether we are talking about fairs for galleries or fairs for artists. Until a decade ago, the concept of giving artists direct access to fairs was almost “heretic”. I am happy that in recent years there has been an exponential growth of fairs dedicated to artists, but at the same time I think that they should differentiate themselves consistently from the gallery model. I find it very upsetting when fairs give artists stands of 3 squared meters, with the wrong lights, in small warehouses … and for crazy prices! Indeed, in London, the average cost of participation ranges from £300 to £1500 per squared meter! In this respect, not only does Artrooms differentiate itself thanks to its innovative format, but also for not charging the exhibition space to artists. It is true that our selection process is certainly a tough one (looking at numbers, only 70 artists out of 1150 applicants were selected for the English edition of the fair), but the artists selected can benefit from free exhibition spaces, as well as all the marketing and the network activities linked to the fair.

The Importance of combination and contamination between new technologies and the art world: How is the use of digital technologies transforming the experience of fairs, and what kind of role does it have concerning Artrooms Roma?
We are still experiencing an experimental phase; personally, I find the idea of exploring new possibilities in the world of art very stimulating. From the artists’ perspective, new technologies open up to interesting contaminations, such as augmented reality -which literally allows us to “live” the work beyond the canvas- or the use of technology in installations. For Artrooms as a fair, technology allows to improve communication with collectors (through the use of dedicated apps, for example), or gives us the possibility to create certificates of authentication and digital archives for the traceability of the works. I hope that through technology, we will be able to make the art market more accessible and more transparent.


Artrooms Roma
2018, from 2 to 4 March
Hotel The Church Palace

application form

The Church Palace, Courtesy of The Church Palace

Catherine Salvargh, Leaving a skin on the border, Courtesy of Artrooms Fair

Emmanuelle Moureaux, I am here, Courtesy of Artrooms Fair

Maya Gelfman, Black birds, Courtesy of Artrooms Fair


Tigers in Flip-Flops at Massimodeluca

The third edition of Darsena Residency at Massimodeluca comes to an end with the exhibition “Tigers in Flip-Flops”, on view until next October, 15.
We talked about it with its protagonists, the Italian-Belgian duo VOID (Arnaud Eeckhout & Mauro Vitturini) and the Portuguese Marco Godinho.

Darsena Residency at its third edition, created by Marina Bastianello and curated by Daniele Capra, culminates with the exhibition Tigers in Flip-Flops that collects some works realized during this residency path. The city of Venice with its conformation, its location not only geographical, but social and cultural, plays a stimulating and exciting role in relation to an exhibition project.
What influence did it have for you? What kind of experience was this one at Galleria Massimodeluca?
VOID: The Venetian territory was the source of inspiration for all the works we realized. Since the beginning we were very motivated to work on new projects based on the experience we were about to have in Venice. Working in-situ it’s always exciting to us because it’s a challenge, since we never know what is going to happen. And the Darsena Residency was a very good spot to get inspired and to work, with a great team by our side. And the great Marco Godinho! The presence of many factories, industrial high quality production places, but also craftsmen and scientific researchers around Venice (especially in the Mestre neighborhood) gave us the input to work for instance with glassblowers as well as with the scientists from ISMAR, who are mapping the Venetian Lagoon with the newest Sonar technologies.

An extremely heterogeneous exhibition, that goes from photography, to glass sculpture, to environmental installation of sound art ,.. Can these choices of expressions be considered as the reflection of an intense cultural contamination moment?
VOID: Absolutely. That’s why residencies are so important in an artistic research. They give to us the opportunity to change context and open new horizons. The pieces we created during the residency probably would have never come out in our Brussels Studio. But the best thing is that those project can still make sense if we bring them out of the context of Venice. It’s always a challenge to develop works that are interesting both in a local and global context, taking out a universality from a specific context.

The emblematic title of the exhibition Tigers in Flip-Flops refers to the contemporary artist’s conditions. How is this paradoxical image reflecting your role?
VOID:  Words create images. And associating two words of very different nature (such as flip-flops and tiger) creates in the mind of the reader a brand new image, which will be different for everyone since no one have never seen a tiger in flip-flops. It’s a surrealist game, certainly a part of our belgian touch. But it also connects with the status of the artist who always has to create new images, new visual and conceptual shapes.
M.G: ‘’Tigers in Flip-flops’’ is for me the first work of the exhibition that opens the imaginary to an endless process of thinking. It is also the consequence of a context, which was revealed during the residence and the conversations we had all together. The fact that the residency took place during the summer time for sure influenced the title and the way how to dress, feel comfortable and ready to explore and welcome people in different contexts. Wearing flip-flops all the time during the residency, walking around with slippers without socks was for me like connecting several worlds together. Public and private become the same, the same interaction as a sharing of intimacy of our a living spaces. Outside becomes inside, the studio is no more studio, home no more home, the whole world is the studio. For me walking around with Flip-flops while I am supposed to take part in a residence is a gesture of freedom and live life as the condition of an animal, as a stray dog, a wolf or a tiger. They have a permanent connection to the ground and the notion of home is dissolved into several places. This condition as to do also with uncertainty of everyday life and precarious life the only life worth living. I try to live a day like a lifetime, as a permanent experience which leads to an open relationship to the other, to the world, where everything can connect and disconnect in the flow of our common memories.

Among the works on view,  the sculptures series of Glasswork realized through the complex manufacturing techniques of Murano and Au claire de la lune realized through tin melting.
Venice, and Veneto in general, are characterized by a strong craftsmanship and know-how culture coming from ancient traditions. This possibility to have rooted craftsmanship at your disposal, how much did it influence your work?
VOID:  As we said, the territory, its history and possibilities did very much influence our works for this exhibition. We always like to experiment, to push our and other people’s boundaries, challenge the onlooker of course, but first ourselves and the people who have no understanding of what we do, what we want to do and why: asking a glassblower to sing into the blowing tube to let his voice shape the glass might sound crazy, but it certainly creates a short-circuit in the mind of the craftsman, which might open or not new paths in his practice. This is also what art is, what art does. What you see in museums or galleries is only the final product, the last bit of a wonderful and fertile journey. We are also very influenced by the thought of Marshall McLuhan and his famous sentence: The medium is the message . Every time we choose a precise medium to give shape to our conceptual research, we keep in mind that that material brings its own meaning and background, according to the cultural knowledge of the audience.

Among the works realized during your residency, I was particularly impressed with “The Mediterranean Sea as a Suspended Territory”, an extremely current title that inevitably reminds of  the recent events that have affected the country’s socio-political situation and of the art’s role today. This artwork leads to a reflection on the acceptance of differences and multiculturalism, but also on the role that art can still pay in creating a common ground for mutual engagement. In such a critical time of divisions, is art giving its personal message in order to support the richness of diversity?
M.G.: For me the context and the temporality in which I work and move is very important, it’s always part of my creative process. At the residency the fact that the Gallery is near the lagoon and it’s somehow in the periphery of Venise, gave me a lot of possibilities to experience the tension between a urban and a liquid territory surrounded by water. Also the fact that the residency took place in Italie and in the Sud of Europe, was for me an infinite source of exploration. Living in Paris and Luxembourg and born in Portugal exploring this territory of the Sud is like going back searching for something connected to the feeling of home. Also the connection to the Mediterranean Sea and what is going on in our society, linked to immigration, exile and perpetual displacement of people looking for a better life conditions concerns me all the time. The fact also I arrive the day of full moon was the starting poing of the main work I realized at the residency. I tried to connect for exemple in the work ‘’Lunar Cycle (9 July – 6 August 2017)’’ the presence of the universe, the cycle of the moon to the local everyday newspaper ‘’Il Gazzettino’’. The fact to connect the everyday news with the cycle of the moon opened a lot of layers of interpretation, specially connected to our way of life which seems more and more disconnected with nature and natural phenomena. Also make disappear by the shape of the moon the information and see what remains, which fragment of our common memory still activated and perceptible. Also the fact to collect, to go everyday out to buy the newspaper was part of the process. Going out, be outside, and use the world as a workshop, as a studio where life interacts in the process of thinking, of making. Everything starts for me with an experience that implicates the scale of my body. Everything is experience, as this shoes that I found in the street, a pair of mocassin and a few meters further at the lagoon which surrounds the Forte Marghera (a nineteenth-century fortress and former barracks of the Italien Army). The fort was part of the Mestre’s defensive camp and the widest defensive system in the lagoon. Exploring the borders of this fort I found some tree roots who made a temporary stop carried away by the flow of the Mediterranean Sea. Back to the gallery I connected the found shoes with the tree root to create a fortunate encounter between two elements which are residues of our consumer and natural society. All this has in common a endless process of thinking who is trying to open and to break the social and cultural conventions in which one remains locked up. This work entitled ’’A slight change in direction’’ is also anthropometrically identical to the measurement of a long step. Other works created in the context of the residency as ‘’Going south is not the same as going south/Going south is not the same as going north’’ are concerned with the psychological perception of geography or use the weather, the sun and the moonlight as the material to explore a work that uses the entire duration of the exhibition to be created. The exhibition is therefore the moment of the creation of the work that will be ready the moment where the exhibition ends and that the public can not see then. This work entitled ‘’Home is no longer warm’’ opens the question of the presence and the absence of natural presence in a space and the notion of hospitality. About this questions of absence and presence and psychological perception of geography ‘’The Mediterranean Sea as a suspended territory’’ is a work that consists of two gold wire earrings in the shape of the Mediterranean Sea that, during the inauguration will be worn by the gallery’s directress. The work alludes to the inextricable network of relationships–cultural, economic, and social–that links the people who face up to this sea, and that the geopolitical events of recent months seem to have made us forget. It is both a warning about our condition and a hope of change.

Laura Rositani


VOID & Marco Godinho, ”Tigers in Flip-Flops”
September 30 – October 15 2017
Galleria Massimodeluca, Mestre

Tigers in Flip Flop, installation view, photo Nico Covre e Galleria Massimodeluca

Tigers in Flip Flop, installation view, photo Nico Covre e Galleria Massimodeluca

Marco Godinho, Going north is not the same as going south

Void, Au claire de la lune (particolare), 2017

Marco Godinho, Home is no longer warm

Void, Orgue basaltique, 2017, photo Nico Covre e Galleria Massimodeluca

Marco Godinho, Lunar Cycle (9 July – 6 August 2017) (particolare), 2017, photo Nico Covre e Galleria Massimodeluca