Archive Wall – entrance fee 5 euros
ticket to 3 events 10 euros – free for myMAXXI cardholders
Three events to trace back the history of sound experimentation in Italy from 1950 to 2000
In conjunction with When Sound Becomes Form, we will retrace the fundamental stages of Italian sound experimentation over the course of three events.
This is a 50 years-long story, where sound comes off the stave and looks at new electronic technologies giving shape to innovative artistic languages and enabling a manipulation of sound and an amplification of space itself, with a cross-fertilisation of cinema, art, choreography, literature, publishing and mass media.
Beginning with composion experiments in the 1960s, the first event will kick off with sound entering the realm of gesture expressions with Giuseppe Chiari and Fluxus, where every note becomes a specific, self-sufficient element. New ways of expressions are born such as happenings and musical graphic notation or music notation. Gruppo 63 makes its debut pushing sound experimentation to the limits and pervading every field: Lamberto Pignotti,
brings to the fore visual and sound poetry, in between happening and performance. In the 1970s, new ways of investigating sound enter the cultural scene with the birth of the first dedicated events and Albert Mayr, in 1975, produces Performances from Time Aspects – an aesthetic approach to daily time management (sound time).
Introduced by
Carlo Fatigoni curator of the When Sound Becomes Form
Speakers
Albert Mayr e Lamberto Pignotti
Moderated by
Irene De Vico Fallani MAXXI Research
Archive Wall – entrance fee 5 euros
ticket to 3 events 10 euros – free for myMAXXI cardholders
Three events to trace back the history of sound experimentation in Italy from 1950 to 2000
In conjunction with When Sound Becomes Form, we will retrace the fundamental stages of Italian sound experimentation over the course of three events.
This is a 50 years-long story, where sound comes off the stave and looks at new electronic technologies giving shape to innovative artistic languages and enabling a manipulation of sound and an amplification of space itself, with a cross-fertilisation of cinema, art, choreography, literature, publishing and mass media.
Beginning with composion experiments in the 1960s, the first event will kick off with sound entering the realm of gesture expressions with Giuseppe Chiari and Fluxus, where every note becomes a specific, self-sufficient element. New ways of expressions are born such as happenings and musical graphic notation or music notation. Gruppo 63 makes its debut pushing sound experimentation to the limits and pervading every field: Lamberto Pignotti,
brings to the fore visual and sound poetry, in between happening and performance. In the 1970s, new ways of investigating sound enter the cultural scene with the birth of the first dedicated events and Albert Mayr, in 1975, produces Performances from Time Aspects – an aesthetic approach to daily time management (sound time).
Introduced by
Carlo Fatigoni curator of the When Sound Becomes Form
Speakers
Albert Mayr e Lamberto Pignotti
Moderated by
Irene De Vico Fallani MAXXI Research