02/10/2020 - 10/01/2021
11/09/2020 - 12/09/2020
Blooming Festival 2020 | Numerical Arts and digital cultures
Curated by Federica Patti and Quiet Ensemble
Award: BloomingYou | OpenCall
Artwork: Principle of Organization
[at] Palazzo Bruschi
[ ] Pergola, Italy
Blooming Festival spurs from the desire to promote different artistic expression in the field of digital culture, of electronic music and arts, and to open new perspectives among the audience in order to increase interaction with new media arts. Blooming underlines the renaissance of digital arts in Italy. Artists, makers, coders, developers, designers literally bloom out of the underground to show an explosion of high quality projects and rare beauty.
Alongside: NONOTAK, Yasuhiro CHIDA, maotik, Umanesimo Artificiale, Ultravioletto, Electro Organic Orchestra and Aspect Ratio.
Blooming festival is conceived as a widespread event through the old town of Pergola: interactive installations and live performances will take place in different locations of the city that are usually closed or rarely open to public visitors. Sacred, hidden, underground places will be brought to life by projections, images and sounds generating wonder and curiosity, inviting the audience to venture into the magic of creative process as into a magnificent flourishing garden. Digital and contemporary arts become the link among different disciplines from the past and the present time. Interactive video projections, lights, sounds in an ancient wine cellar symbolise the vision of a multifaceted future that doesn't deny past disciplines and traditions but tends to transmit knowledge and hand on ancient habits and techniques instead, since these are the seeds of our present and future.
14/10/2019 - 17/11/2019
PNA - National Arts Prize
Award: Electronic Arts
Artwork: Principle of Organization
[at] Albertina Academy
[ ] Turin, Italy
Building a new world: this is a broad-ranging yet not generic theme.
The need for new ways of coexisting, understanding, studying, acting, evaluating is in fact particularly felt by the new generations and it engages the creatives of the planet in all possible fields. Resolving environmental problems, gaining civil rights, promoting politically and geographically disadvantaged nations, are just some of the issues that must lead to a new awareness of our being humans on the planet in which we live.
From the 14th to 17th of October, the spaces of the Albertina Academy (particularly the “Rotonda”, an admirable nineteenth-century architectural work by the architect Talucchi, which inspired the Festival logo) and the other exhibition, theatrical, and congress venues will be frequented by guests from all over the world as well as from local citizens and tourists. There will be exhibition openings, performances, workshops, conferences, and meetings. The exhibits will remain open until November 17th. A great event that offers a unique and precious panorama on the state of young art and therefore on its future, in Italy and in the world.
22/02/2019 - 01/06/2019
Curated by: Antonella Spano
[at] Doppelgaenger Gallery of Contemporary Art
[ ] Bari, Italy
Text by: Valentino Catricalà
Artwork: Incisione su Silenzio - Principle of Organization - Principle of Organization [Study-Book] - Possible Principle of Organization - Interferences Quartet - All That Fall [Graphic-Score] - WORKS 2016-2018 [Lathe-Cut Vinyl]
In music, it’s said that only the ear counts. Music or sound. For perhaps “sound” is more suitable to describing Pier Alfeo’s artistic “investigations”. We aren’t speaking of music in this case, not only of sound, but of “sound art”. A label that fully represents the artist’s exhibition. A label, however, that is too general and shallow; like all labels, it leaves something out. Nevertheless, it precisely delineates a field of interest: where sound makes poetry, becomes an analysis of the present, a material to reach more complex concepts and more profound sensibilities. From sculptures to installations to books, sound in Alfeo’s artistic lexis becomes the tool for investigating the material, or rather materials, of our present and future.
Alfeo’s work is indubitably technological: the sound expands through compositions generated by algorithms. Yet the artist doesn’t abandon himself to the disquieting fascination of technology, that so bewitches us when we see how it works. Instead, he activates a core concept that interweaves itself through all his works: the passage, or better, the union, of two seemingly disparate elements: the organic and the technological. Sound becomes the vehicle for an extended relation with natural elements and for the union between two temporalities: that of the duration of the performance and that of archaeological time, an interior time which resonates with our emotional cords.
In archaeology, for instance, time becomes history, becomes the prime material for studying fragments from the past and from the depths of the earth. An earth that today represents our future, an earth to rediscover, an earth that speaks as a whole beyond any anthropocentric vision and that might even leave us behind. This is the concept at the heart of Alfeo’s works, in which he uses the laws of physics, between the symmetry of a spatialised sound structure and its incision on the organic randomness of wood, for instance.
A return to the organic, to the use of primary physical forces, to the discovery of a new relation with nature: the foundations of existence in its physical and biological configuration. That which exists beyond reason, that which determines our instincts and the uncontrollable nature of physical elements. In an age of technological advances, of humanity asking itself whether our future will be dominated by machines, cyborgs, and technological prostheses, the artist hints at the possibility of finding once again that which we often forget or exclude: being still, and always, earth, world, universe.
11/10/2018 - 14/10/2018
Curated by: LoxoSconcept
[at] Casa Cava Gallery
[ ] Matera, Italy
Artwork: Interferences Quartet
The LOXOSconcept organization, with the support of Casa Cava Auditorium, “Spaziomusica” oganization of Cagliari, “Keyhole” organization, “Cycling’74” (Max/MSP) and the patronage of “Matera Basilicata 2019 Foundation” promotes the third edition of MA/IN [MAtera INtermedia festival]. The MA/IN festival is aimed at the production and promotion of sonic and digital arts at an international level. Its focus is to become an annual meeting point between artists and composers, within a unique and lovely background of the city of Matera.
Every year A/V performances, live electronics, electroacoustic music events, sound installations, workshops and masterclasses will be organized in several evocative venues like the ancient hypogea of Casa Cava. Within the MA/IN, an annual call for artists will be announced. It involves an international jury panel consisting of famous international composers and artists in the feld of electronic arts.
19/12/2017 - 26/12/2017
Curated by - Text by: Felice Moramarco
[at] ExChiesa S. Giuseppe
[ ] Conversano, Italy
Hosted by : CONTEMPO Festival
It is striking that the well-known biblical affirmation “Vanitas vanitatum et omnia vanitatis” (vanity of vanities, all is vanity), which reminds people of the futility of material goods, has been a such powerful source of inspiration for art, the most vane and futile human activity. The vanitas has been indeed one of the most represented subject in the western painting, creating an immensely prolific imaginary. Hourglasses, cut flowers, music instruments, skulls: a complex system of images and symbols mobilised with the aim of highlighting the vanity of the earthly life. It seems that art reaches its highest expressiveness exactly when it represents its own vanity and the one of the world which it belongs to.
In On the Pre-eminent Dignity of the Arts of Fire, the French poet Paul Valéry describes the fascination of fire as that which better represents the artistic experience: despite being ephemeral, exactly like art, fire generates intense sensations, anything but ephemeral. Further, fire quickly consumes itself and is constantly under the threat of vanishing. It is this ungraspable instant before the vanishing of the image that Pinhole 17_VIII e Pinhole 17_X by Saskia Fischer capture. Not only the cut flower directly recalls the iconography of the vanitas, but this is also evoked by the dematerialisation of the image itself in the flow of time.
The ineluctable flow of time is a theme addressed also by the sound installation Hypodèrmide by Pier Alfeo. The slowly flowing water, that could stop at any moment, induces the same anxiety caused by hourglasses in 17th century paintings, which warn us that the course of events will eventually come to an end. The electronic sounds produced by the work seem indeed to be echoing from another world.
Infinite Vanitas takes place on the verge between two worlds: one that is about to disappear, the other that has not yet disappeared.