Lumpen Station: Recent Episodes
Lumpen Station
Lumpen station est un projet pilote de radio art. Le site se présente comme un espace d'exposition de créations sonores à la fois réalisées par des artistes visuels familiers à l'acoustique ou de novices. Lumpen Station réalise régulièrement des séries de créations et propose des émissions en direct dans différents lieux qui invitent l'antenne mobile.
Lumpen Station goes to Videoexwith Bettina Stehli, Greg de Cuir Jr, Marcus JackRecorded on 22.05.25 in Videoex Festival, Zurich / 01:54:07Host : Andrea Marioni / Curator : Olga Popova Co-production Lumpen Station and VideoexVisual by Studio Vanieli
Contemplative Frequencies - Naara Bahler and Eric RüegerRecorded on 24.05.25 in Photoforum Pasquart, within Naara Bahler’s exhibition “Olvidamos cómo contemplar la madre tierra?” in Biel/Bienne Festival of photography / 00:29:27Co-production Lumpen Station, Photoforum Pasquart, Naara Bahler and Eric RüegerVisual by Studio Vanieli Introduction by Andrea Marioni, the sound piece starts at 10:40
Made in KBCB, extra live, Rosaemaria - Gingilli e accrocchiRecorded on 23.05.24 in Kunsthaus Biel Centre d’art BienneVictoria Pham & Francesca Sproccati00:52:19 / Co-production Lumpen Station and KBCB / Visual by Studio Vanieli
Made in KBCB, extra live, Andrea Marinelli – BettyBossiClimbersRecorded on 30.05.24 in Kunsthaus Biel Centre d’art BienneAndrea Marinelli : live electronics / Aheadacheaday: live electronics00:31:23 / Co-production Lumpen Station and KBCB / Visual by Studio Vanieli
Associates curators is hosting :Otter Holding Hands by Ambra Viviani, GiuliettaOHH, season 3, Loving in Between 2025 co-production: Giulietta and Lumpen Stationsupports: Pro Helvetia, FSRC, SWISSPERFORMNearest pond - You... made the burrow bloomEncounter in a cave. Encounter in a field. Encounter through a window. Encounter in an ear. Half-encounter. Harvest encounter. Encounter cut short. Encounter in the dark. Encounter in a grove. Shaggy encounter. Recorded encounter. Repeated encounter. Encounter under a paw. Encounter in a hole. Holy encounter. Jolly encounter. Encounter in your head. Encounter anyway. One-way encounter. Waiting for an encounter. Smell of an encounter. Encounter in a nook. The seeds of the present encounters are planted while the past encounters are painted in panic.Nearest pond is a collective entity. Through a variety of forms, including installation, sculpture, sound, and image, their practice explores multiple agencies and space-times that unsettle human perspectives, using speculative narration as a main tool.
Made in KBCB, PANCH - Performance on airRecorded on 06.10.24 in Kunsthaus Biel Centre d’art Bienne / Hosted by Andrea Marioni Performers : Leo Bachmann, Zoe Dowlen, Bettina Filacanavo, Noah Joel HuberSpeakers: Judith Huber, Maricruz Peñaloza, Ivan Röösli, Ursula Scherrer01:09:52 / Production Lumpen Station and KBCB / Visual by Studio Vanieli
Made in KBCB, HB9KBCB, part oneRecorded on 07.12.24 in Kunsthaus Biel Centre d’art Bienne, with the precious help of Biel’s amateur radio association02:02:21 / Production Lumpen Station and KBCB / Visual by Studio Vanieli
Made in KBCB, HB9KBCB, part twoRecorded on 08.12.24 in Kunsthaus Biel Centre d’art Bienne, with the precious help of Biel’s amateur radio association01:38:09 / Production Lumpen Station and KBCB / Visual by Studio Vanieli
Made in KBCB, Piano improvisations at KBCB - Manuel EngelRecorded in june 2024 in Kunsthaus Biel Centre d’art Bienne, improvisations created on a Burger & Jacobi piano adorned by Nathalie Du Pasquier01:09:42 / Production Lumpen Station and KBCB / Visual by Studio Vanieli
Associates curators is hosting :Otter Holding Hands by Ambra Viviani, GiuliettaOHH, season 3, Loving in Between 2025 Artists: Peilian Li and César AxelTitle: “The way you almost said it”co-production: Giulietta and Lumpen Stationsupports: Pro Helvetia, FSRC - Swiss perform Description of the sound piece:“Fragments of music rebuilt from memories of Chunking Express andLost in TranslationA dialogue between charactersSome are obsessed over pineapple cansSome struggle with taking good photographsSome are flirting with optimismSome just want to be left alone…Here is a new story:The love was narrated in an unfamiliar language, written on a paperfolded into a paper plane, flew through a tunnel, then down it went,landing somewhere in between. “Peilian Li (Emma Bucks) and César Axelare artists living and working in Vevey, Switzerland.Their collaborations move through memory, distance, anddisappearance, using sound, image, language, and poetic drift.Individually, Peilian works with sculpture, AI, and narrative, utilizingpersonal archives and quiet research into soft, shifting forms.César Axel works with digital memory, found and taken images, andeveryday objects, tracing the emotional life of things that fade.They move between languages, platforms, and moods.They let things leak, misalign, and gently overlap.Together, they make soft archives.
Questions de muséologie et collections #2Avec Julien Berberat, conducteur Andrea MarioniMADE IN KBCB, Extra Live, recorded in june 2024 at Studiolo Kunsthaus Biel Centre d'art Bienne Visuel par Studio VanieliCette micro série dédiée à des questions de muséologie et collections d’art se présente sous la forme d’une conversation avec le muséologue Julien Berberat. Au cours des trois épisodes s’articule une prise panoramique sur les différentes formes de musées et leur relation avec les pratiques artistiques du passé et contemporaines. Les émissions souhaitent partager avec les auditeur·trices des réflexions et questionnements liés à l’organisation des espaces d’expositions, leur histoire ainsi que les perspectives d'avenir.JULIEN BERBERAT (1988, vit et travaille à Bienne)Diplômé de la Haute École d'art et de design de Genève (HEAD) et de l'École cantonale d'art de Lausanne (ECAL), Julien Berberat mène depuis dix ans des projets comme artiste et critique. "Artiste associé" à L'L à Bruxelles (lieu de recherche pour les jeunes artistes) de 2015 à 2018, il a participé à plusieurs projets qui mettent en jeu la recherche comme expression artistique, notamment lors du programme Soma-Summer à Mexico City ou pour "l'Usage du Terrain" proposition évolutive dirigée par les artistes et critiques Remy Héritier et Léa Bosshard aux laboratoires d'Aubervilliers, en banlieue parisienne.Engagé sur les questions de mise en valeur du patrimoine, il a collaboré comme médiateur culturel avec la Bibliothèque cantonale jurassienne de 2017 à 2022 ainsi que pour l'Office fédéral de la culture dans la section Musées et collections comme collaborateur scientifique depuis 2022.Credits images:Jakob Lena Knebl, installation sur une statue d’Eros . l’arc [s.n.], (IIe siècle), (2021), installation, Genève, Musée d’art et d’histoire.Source : Marcher sur l’eau, catalogue d’exposition, Genève, Musée d’art et d’histoire, 28 janvier-27 juin 2021, sous la direction de Marc-Olivier Wahler, Dijon : Les Presses du réel, 2021, p. 236.
Questions de muséologie et collections #1Avec Julien Berberat, conducteur Andrea MarioniMADE IN KBCB, Extra Live, recorded in june 2024 at Studiolo Kunsthaus Biel Centre d'art Bienne Visuel par Studio VanieliCette micro série dédiée à des questions de muséologie et collections d’art se présente sous la forme d’une conversation avec le muséologue Julien Berberat. Au cours des trois épisodes s’articule une prise panoramique sur les différentes formes de musées et leur relation avec les pratiques artistiques du passé et contemporaines. Les émissions souhaitent partager avec les auditeur·trices des réflexions et questionnements liés à l’organisation des espaces d’expositions, leur histoire ainsi que les perspectives d'avenir.JULIEN BERBERAT (1988, vit et travaille à Bienne)Diplômé de la Haute École d'art et de design de Genève (HEAD) et de l'École cantonale d'art de Lausanne (ECAL), Julien Berberat mène depuis dix ans des projets comme artiste et critique. "Artiste associé" à L'L à Bruxelles (lieu de recherche pour les jeunes artistes) de 2015 à 2018, il a participé à plusieurs projets qui mettent en jeu la recherche comme expression artistique, notamment lors du programme Soma-Summer à Mexico City ou pour "l'Usage du Terrain" proposition évolutive dirigée par les artistes et critiques Remy Héritier et Léa Bosshard aux laboratoires d'Aubervilliers, en banlieue parisienne.Engagé sur les questions de mise en valeur du patrimoine, il a collaboré comme médiateur culturel avec la Bibliothèque cantonale jurassienne de 2017 à 2022 ainsi que pour l'Office fédéral de la culture dans la section Musées et collections comme collaborateur scientifique depuis 2022.Credits image:Allan Kapprow, Environnement. Situations. Spaces, 1961, performance et installation, New-York, Martha Jackson Gallerie,Source : Photographie de Ken Heyman, in : ARTFORUM, Vol. 48, n°4, décembre 2009, San Francisco : Artforum, 2009.
Questions de muséologie et collections #3Avec Julien Berberat, conducteur Andrea MarioniMADE IN KBCB, Extra Live, recorded in june 2024 at Studiolo Kunsthaus Biel Centre d'art Bienne Visuel par Studio VanieliCette micro série dédiée à des questions de muséologie et collections d’art se présente sous la forme d’une conversation avec le muséologue Julien Berberat. Au cours des trois épisodes s’articule une prise panoramique sur les différentes formes de musées et leur relation avec les pratiques artistiques du passé et contemporaines. Les émissions souhaitent partager avec les auditeur·trices des réflexions et questionnements liés à l’organisation des espaces d’expositions, leur histoire ainsi que les perspectives d'avenir.JULIEN BERBERAT (1988, vit et travaille à Bienne)Diplômé de la Haute École d'art et de design de Genève (HEAD) et de l'École cantonale d'art de Lausanne (ECAL), Julien Berberat mène depuis dix ans des projets comme artiste et critique. "Artiste associé" à L'L à Bruxelles (lieu de recherche pour les jeunes artistes) de 2015 à 2018, il a participé à plusieurs projets qui mettent en jeu la recherche comme expression artistique, notamment lors du programme Soma-Summer à Mexico City ou pour "l'Usage du Terrain" proposition évolutive dirigée par les artistes et critiques Remy Héritier et Léa Bosshard aux laboratoires d'Aubervilliers, en banlieue parisienne.Engagé sur les questions de mise en valeur du patrimoine, il a collaboré comme médiateur culturel avec la Bibliothèque cantonale jurassienne de 2017 à 2022 ainsi que pour l'Office fédéral de la culture dans la section Musées et collections comme collaborateur scientifique depuis 2022.Credits image:P.A.M. Vue de studio, Francfort, Weltkulturen Museum, Weltkulturen Labor, photographies de Wolfgang Günzel.Source : Trading Style, catalogue d’exposition, Frankfurt am Main, Weltkulturen Museum, 8 novembre 2012-31 août 2013, sous la direction de Clémentine Deliss et Teimaz Shahverdi,Bielefeld : Kerber Verlag, 2013, pp. 238-239.
Audio Sprezzatura : Mastering Mistakes – Sara Strasser presents kollektiv eigenklangRecorded on 01.12.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo02:12:33 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Emma Souharce and Aya Metwalli, Emotional Support, part 2Recorded on 30.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:02:24 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Emma Souharce, julie b. and Aya Metwalli, Emotional Support, part 1Recorded on 28.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:00:49 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Olga Kokcharova and Laurent Güdel, SOLO / MUTE / PAN - tape release,Recorded on 24.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:04:58 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes – Sara Strasser presents Jonathan Frigeri, Simon de WildrfidRecorded on 17.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:31:59/ Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Réka CsiszérRecorded on 21.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:47:02 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Christof Steinmann, Der Ton (The Sound)Recorded on 16.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:46:32 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Spirale Névrose : Eva Zornio and Jérémy ChevalierRecorded on 14.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:45:09 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Andrea Marioni, Notes de lecturesRecorded on 14.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:32:42 / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Felix Stöckle and Maria Vallentin, Voices of Sculptures - tape releaseRecorded on 10.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:48:34 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - SAVE MY SKINRecorded on 09.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:56:26 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Carrots Tapes System : G.Early and Kit Mineral, Le Rose Sono RosseRecorded on 07.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:56:43 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes – Victor Sala presents Laetitia Khiara, Margaux HuberRecorded on 02.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:10:33 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Nicola Genovese, Ecco la primavera and other pseudo-medieval mattersRecorded on 31.10.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:33:17/ Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes - Airbios, Arrogance of the derisoryRecorded on 27.10.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:44:54 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Oertli-Stiftung
Audio Sprezzatura : Mastering Mistakes activeRat - Rodent Frequencies : activeRat’s Sonic LabyrinthRecorded on 24.10.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo 01:45:35 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCB Supported by FSRC, SWISSPERFORM, Oertli-Stiftung
A conversation with Bernard BlistèneMade in KBCBRecorded on 08.11.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:09:39 / Interviewed by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and KBCB
A conversation with Kwik & Kwak : Jos de Gruyter & Harald ThysMade in KBCBRecorded on 14.09.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:05:13 / Interviewed by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and KBCB
A conversation with Nathalie Du PasquierMade in KBCBRecorded on 14.09.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:55:55 / Interviewed by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and KBCB
A conversation with Olivier MossetMade in KBCBRecorded on 14.09.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:03:30 / Interviewed by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and KBCB
A conversation with Anne-Claire SchmitzMade in KBCB,Recorded on 08.06.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:51:11 / Interviewed by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and KBCB
A conversation with Jim ShawMade in KBCBRecorded on 08.06.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:53:21 / Interviewed by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and KBCB
SOUNDGATE ZagrebSoundgate, Roberta Bisogno, EsauastaMay 2024 / 00:25:00Text and voice: Roberta Bisogno / Music: Marko Miladinović, Roberta BisognoSound producer: Marko MiladinovićVisual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
Soundgate, Željko Beljan, Trešnjevka – PonikveMay 2024 / 01:36:31Tonmeister : Vedran Rao BrlečićVisual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
SOUNDGATE Zagrebradio happening Recorded in Istituto Italiano di Cultura di Zagabria,16.05.24 / 03:09:09With Claire Megumi, Roberta Bisogno, Marko Miladinović, Beatrice Beispiel, Stela Mikulin, Željko Beljan, Sonja LebošHost: Andrea Marioni / Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung, Embassy of Switzerland in Croatia, Istituto Italiano di Cultura di Zagabria
SOUNDGATE Zagreb Soundgate, Stela Mikulin, Radical dialogueMay 2024 / 00:15:18Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
SOUNDGATE BelgradeSoundgate, Paradajz Radio live jam sessionRecorded in Paradajz Radio, 10.05.24 / 01:32:43With Kota Davudova, Daniel Izmaylov, Anton Mikhailov, Eugen Piankov, Nu SimakinaHost: Andrea Marioni / Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
SOUNDGATE BelgradeSoundgate, Pinter from radio Krov - Balkan no alterna vol. 2May 2024 / 02:00:13Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
SOUNDGATE BelgradeSoundgate, Mia Ćuk, Žega: the general planMay 2024 / 00:29:42Concept and field recording: Mia Ćuk / Piano, sound editing: Miloš VukovićArchival material: "General plan of Belgrade", Belgrade Chronicles, produced by TV Beograd, 1972. "Vrelina u Beogradu" RTS Trezor, 2012, 2015.Lumpen Station production, with the support of Landis & Gyr Stiftung
SOUNDGATE BelgradeSoundgate, Luka Strika, untitled projectMay 2024 / 01:52:04Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
SOUNDGATE Belgrade Soundgate, Pinter from radio Krov, Balkan no alterna vol. 1May 2024 / 02:01:46Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
Soundgate, Belgrade vol. 3Live at Krov Recorded in DC Krov, 09.05.24 / 02:25:26With Nenad Pinter, Kapetan KokanHost: Andrea Marioni / Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung, Embassy of Switzerland in the Republic of Serbia and to Montenegro
Soundgate, Belgrade vol. 2Live at Krov Recorded in DC Krov, 09.05.24 / 02:09:57With Nenad Pinter, Kapetan KokanHost: Andrea Marioni / Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung, Embassy of Switzerland in the Republic of Serbia and to Montenegro
Soundgate, Belgrade vol. 1Live at Krov Recorded in DC Krov, 09.05.24 / 03:17.01With Claire Megumi, Marko Miladinović, Giorgia Piffaretti, Anđela ĐokićHost: Andrea Marioni / Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung, Embassy of Switzerland in the Republic of Serbia and to Montenegro
Soundgate, Darko Aleksovski, Between Two Pages, GentlyRecorded during a workshop in February 2024 at SCS Centar-JadroSkopje / With Gracija Atanasovska, Marija Boshkovska, Kalia Dimitrova, Simona Mancheva, Ivana Smilevska, Milena Slivoska, and Monika Stojanovska£May 2024 / 00:29:37Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
SOUNDGATE SkopjeLive at Partizan Print Recorded in Partizan Print, 03.05.24 / 02:40:42With Biljana Dimitrova, Jelena Belikj, Vladimir Muratovski, Vera Roos, Laura Gillette, Milosh StojanovikjHost: Andrea Marioni / Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
Soundgate SkopjeElectro Kultura, YUGO New WaveMay 2024 / 01:53:35Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
Soundgate Sarajevo Hana, Dejan, Faruk i Dženeta - Poezija, jel kapijate?May 2024 / 01:14:50Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
SARAJEVO - Live at DKCRecorded in DKC Sarajevo, 25.04.24 / 2:39:04With Sanin Bašić, Hana Zeba, Dženeta Zaklan, AstigmaHost: Andrea Marioni / Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
SOUNDGATE Sarajevo Sanin Bašić, New Wave of BosniaMay 2024 / 1:58:22Visual: Studio VanieliLumpen Station production, with the support of Landis & Gyr Stiftung
La Fête à Bruit, BLABLABLIBLABIU day 1With Marina Tantanozi, Ivar Roban Križić, Frantz Loriot, Gaudenz Badrutt, Jonas Kocher, Borka StojićRecorded on 29.08.24 at la Fête à Bruit, Terrain Gurzelen, Bienne01:33:30 / Hosted by Andrea Marioni / Artwork by Brutus Graph / Graphic design by Studio VanieliCo-production Lumpen Station and la Fête à BruitSupported by FRSC, SWISSPERFORM
La Fête à Bruit, BLABLABLIBLABIU day 4With Davorka Begović, Nora Vetter, Xavier CharlesRecorded on 01.09.24 at la Fête à Bruit, Terrain Gurzelen, Bienne01:31:52 / Hosted by Andrea Marioni / Artwork by Brutus Graph / Graphic design by Studio VanieliCo-production Lumpen Station and la Fête à BruitSupported by FRSC, SWISSPERFORM
La Fête à Bruit, BLABLABLIBLABIU day 3With Jason Kahn, Andrej Mirčev, Zoran Patelić, Ute WassermannRecorded on 31.08.24 at la Fête à Bruit, Terrain Gurzelen, Bienne01:32:00 / Hosted by Andrea Marioni / Artwork by Brutus Graph / Graphic design by Studio VanieliCo-production Lumpen Station and la Fête à BruitSupported by FRSC, SWISSPERFORM
La Fête à Bruit, BLABLABLIBLABIU day 2With Antoine Lang, Action IntermittenceRecorded on 30.08.24 at la Fête à Bruit, Terrain Gurzelen, Bienne01:32:20 / Hosted by Andrea Marioni / Artwork by Brutus Graph / Graphic design by Studio VanieliCo-production Lumpen Station and la Fête à BruitSupported by FRSC, SWISSPERFORM
Pardomanzia, day 5With HAUSVRAU, Noah Stolz, Roberta Bisogno, Marko MiladinovićRecorded on 12.08.24 at BaseCamp, Locarno Film Festival01:54:05 / Hosted by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and BaseCampSupported by FRSC, SWISSPERFORM, BaseCamp
Pardomanzia, day 4With OBSIDIAN, Dario De Luca, Francesca Cantagalli, Carolina Cantagalli Remo Bitzi, Marko MiladinovićRecorded on 11.08.24 at BaseCamp, Locarno Film Festival02:04:23 / Hosted by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and BaseCampSupported by FRSC, SWISSPERFORM, BaseCamp
Pardomanzia, day 3With Zamo Mkhwanazi, Bone Choene, Kgopiso TibeRecorded on 10.08.24 at BaseCamp, Locarno Film Festival01:36:58 / Hosted by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and BaseCampSupported by FRSC, SWISSPERFORM, BaseCamp
Pardomanzia, day 2With Jan Steinbach, Marko MiladinovićRecorded on 09.08.24 at BaseCamp, Locarno Film Festival01:37:17 / Hosted by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and BaseCampSupported by FRSC, SWISSPERFORM, BaseCamp
Pardomanzia, day 1With Christian Ferretti, Marco Jäggli, Jody AgusRecorded on 08.08.24 at BaseCamp, Locarno Film Festival01:41:45 / Hosted by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and BaseCampSupported by FRSC, SWISSPERFORM, BaseCamp
Pardomanzia, day 8With Roberta Bisogno, DJ Real Madrid, Bernet Branca, collettivo GrinfieRecorded on 16.08.24 at BaseCamp, Locarno Film Festival01:43:35 / Hosted by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and BaseCampSupported by FRSC, SWISSPERFORM, BaseCamp
Pardomanzia, day 7With Alice Bachman, Shari Delorian, Marko Miladinović, Nicolas Schärer, Delia Yenisser, Marina Reith, Elias Unterfraunern, Aljoscha Lorentz, Mike Rüb, Roberta BisognoRecorded on 15.08.24 at BaseCamp, Locarno Film Festival02:01:03 / Hosted by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and BaseCampSupported by FRSC, SWISSPERFORM, BaseCamp
Pardomanzia, day 6With MTFMKR, Samuel Bereuther, Sofia Faid, Roberta Bisogno, Morena La BarbaRecorded on 14.08.24 at BaseCamp, Locarno Film Festival01:55:06 / Hosted by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station and BaseCampSupported by FRSC, SWISSPERFORM, BaseCamp
Somewhere in Between A and Z, Fork Burke presents : X Schneeberger, Boni Joi and Jamika AjalonRecorded on 20.07.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:08:57 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Roger Fähndrich, Twisted Lamentationswith the help and contribution from Diana Duta, Rea Dubach, Zoë Binetti, Milena Patagônia,Lisa Kokwenda Schweiger and Emilio Saura Jiménez, Christine Hasler, Ernestyna Orlowska, Enrico Floriddia, Zoë De Luca Legge, & The StructureRecorded on 18.07.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:58:57 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Charles PennequinRecorded on 22.06.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:51:14 / Curated by Andrea Marioni /Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Sonja Leboš, The FairingRecorded on 11.07.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:36:43 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, City of Zagreb
Somewhere in between A and Z, Andrea Marioni, Scrollor Mundi Recorded on 30.06.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:47:55 / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Antoine Rubin and Jonathan Humair : Veau Biche Ours x Gamin de TalusRecorded on 15.06.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:31:58 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Beth Dillon, Bleeder Breeder BitchRecorded on 04.07.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:33:26 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Diana Duta and Florence Cats : LikeRecorded on 25.07.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:58:40 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Elodie Olson-CoonsRecorded on 27.07.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:37:50 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Francesca BoemiaRecorded on 27.06.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:40:16 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Katia Leonelli : collectif mot de passeRecorded on 14.07.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:53:35 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Laurent Schmid, Bruno Schaub and Sara da Silva Santos : laptopradiø, Quasar Quantawith a contribution from Claire MegumiRecorded on 13.07.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:06:41 / Curated by Andrea Marioni / Visual by Studio Vanieli Co-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Mathilde Aubineau and Paul Courlet, Facettes incantatoiresRecorded on 29.06.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:44:10 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in Between A and Z, Monika Metallika SPURecorded on 08.06.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:54:35 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Marko Miladinović, A wants B in unexpected waysRecorded on 28.07.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:43:48 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM, Fondo Swissloss Cantone Ticino
Somewhere in between A and Z, Pascale Grau and Claudia GrimmRecorded on 21.07.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo00:54:11 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Somewhere in between A and Z, Till LangschiedRecorded on 20.06.24 in Kunsthaus Biel Centre d’art Bienne, le Studiolo01:16:27 / Curated by Andrea Marioni / Visual by Studio VanieliCo-production Lumpen Station & KBCBSupported by FSRC, SWISSPERFORM
Made in KBCBExtra live - Matias AguayoLive performance recorded on 23.05.24 in Kunsthaus Biel Centre d'art BienneInvited by Sara Strasser / Duration 00:59:44Visual by Studio VanieliProduced by Lumpen Station - asso. Let it happening
Seasons by LazyBackHomeOtters Holding Hands - curated by Ambra Viviani A Strange New Kind of Inbetween Thing, episode 4Co-production: Lumpen Station, Kunsthaus Biel Centre d'art Bienne, GiuliettaThis project is part of Community Building, supported by FSRC, SWISSPERFORM, Pro Helvetia and Kanton Appenzell AusserrhodenLazyBackHome is a visual artist and director currently working in China. She holds a Master‘s degree from the London College of Communication, University of the Arts London. Her work explores the relationship between media, authority, and the individual within the context of internet society. She uses fairy tales, myths, and fables as the basis of her narratives, presenting and questioning contemporary social issues through video and performance. She has been shortlisted for The Wrong Digital Art Biennale, and her works have been exhibited at venues such as the OTA Fine Arts Gallery in Tokyo, Ars Electronica ”Yami-Ichi,“ Shanghai K11, and the Venice Arsenale.“Seasons” is a radio drama that explores human existence in the age of social media.Adapted from the artist’s experimental film, it is divided into four chapters—Spring, Summer, Autumn, and Winter—representing The Wanderer's Guide, The Ship of Fools, Alice in Wonderland, and The Green Factory.Using fictional texts as narratives, this drama explores the survival challenges faced by marginalized people in our rapidly evolving media age. It brings attention to homeless people cast aside by technology, “fools” excluded from mainstream acceptance, and women held hostage by societal expectations. Their personal stories offer a glimpse into possible futures for humanity.Co-Production: GUAN, Juice, Joya
Five Takes by Eleonora LuccariniOtters Holding Hands - curated by Ambra Viviani A Strange New Kind of Inbetween Thing, episode 5 Co-production: Lumpen Station, Kunsthaus Biel Centre d'art Bienne, GiuliettaThis project is part of Community Building, supported by FSRC, SWISSPERFORM, Pro Helvetia and Kanton Appenzell AusserrhodenThe audio track includes five recordings of the poem Il corpo standard/The standard body, written by Eleonora Luccarini and performed by singer Valentina Chirico in different styles of operatic singing.These five recordings belong to the preliminary research material that will constitute part of the soundtrack of Eleonora Luccarini’s next film work THE CONTEST, currently in production.The film deepens Luccarini’s relationship with her alter ego Milkdromeda and acts as a metaphor for the inner conflict between hope and nihilism as perspectives on the future, questioning the role of poetic language and storytelling in the process of individual accountability and female self-awareness practices.Eleonora Luccarini (Bologna, 1993) lives and works in Amsterdam and Bologna. Her research is interdisciplinary, systemic and focused on the performative potential of language. She studied at the Academy of Fine Arts in Bologna, Università IUAV di Venezia and Sandberg Institute in Amsterdam. Recent exhibitions include: MACTE, Termoli (2024); MACRO, Roma (2022 - ongoing); Baleno International, Roma (solo show, 2022); Fondazione smART, Roma (solo show, 2022); Istituto Svizzero, Milano (2021), Manifattura Tabacchi, Firenze (2021); Fondazione Sandretto Re Rebaudengo, Torino (2021) and Quadriennale di Roma (2020). In 2021 she also took part in the residency project Nuovo Forno del Pane at MAMbo Museum in Bologna. She is the winner of Pini Art Prize 2021-2022 at Fondazione Adolfo Pini in Milano and ClubGAMec Prize 2023. Her work is part of public and private collections such as GAMec, Bergamo.Images’ captions1) THE CONTEST - Storyboard study #1, installation view, Cripta747, Torino IT, 2023, photoSebastiano Pellion Di Persano, courtesy the artist and Cripta7472) THE CONTEST - Storyboard study #2, installation view, Cripta747, Torino IT, 2023, photoSebastiano Pellion Di Persano, courtesy the artist and Cripta74
Just like the mysteries of air, by Léna Lewis-King Otters Holding Hands - curated by Ambra Viviani A Strange New Kind of Inbetween Thing, episode 2 "Just like the mysteries of air" is an audio journey in fragments on the in-between metaphysics of air, the invisible fullness: beginning with a phone call, a travel along the coast of the Puglian Adriatic, Luce Irigary’s Forgetting of Air, dusts in the studio, the disappearing Countess, all from our lungs to your ears.Léna Lewis-King (London, 1999) is an artist filmmaker whose work explores intersections between systems of production, feminist post-humanist theory, phenomena of experience, ecologies, and technologies. She studied Film at Kingston University in London and received support from Channel 4's Random Acts program, in partnership with ICA London, to launch her film career. Integrating methodologies from various disciplines such as animation, lens-based media, and writing, Léna's artistic process is a fusion of diverse influences.Her work, framed through a feminist lens, delves into the mystical and spiritual dimensions of lived experiences. Through mediums including film, moving image, photography, painting, digital drawing, and installation, she contemplates the profound impacts of techno-capitalist acceleration on the ephemeral essence of life.Written by Léna Lewis-KingVocal contributions from Léna Lewis-KingSigne and Luísa Carlos Anguera JoverTereza HavadejováDacia MarainiLuce Irigari+ Thanks to Federico Pozuelo
While the walls come tumbling down by Maria Maylan Otters Holding Hands - curated by Ambra Viviani Storie della buonanotte e del buongiorno, season 2Co-production: Lumpen Station, Kunsthaus Biel Centre d'art Biennesupported by FSRC, SWISSPERFORM, Pro Helvetia and Kanton Appenzell Ausserrhoden For the past year, I have been recording conversations with other trans artists and writers through an Internet platform in preparation for a film project. In this audio piece, authors Maxi Wallenhorst and Kuku Schrapnell talk about the complex relation between work and identity, and the cis gaze framing it. "Field" recordings from my day-to-day life protrude.About the artist :Maria Mayland (*1988) is a visual artist and filmmaker. She obtained her MFA from Basel’s Art Institute, taught by Chus Martínez, and took part in KKH Stockholm's postgraduate program Philosophy in the Context of Art, taught by Peter Osborne.Her short film works have been shown in various contexts across Europe. Screenings include International Short Film Festival Oberhausen, European Media Art Festival Osnabrück, IDFA Amsterdam, Hamburg International Short Film Festival, transmediale, Edinburgh Film Festival and Sharjah Film Platform.She won the German Short Film Award in 2022, the EMAF-Media Art Award of the German film critics association (VdFK) in 2021, and the 3sat Emerging Talent Prize at Oberhausen International Short Film Festival 2024.
OHH - Nota vocale a due foci, by Francesca BoemiaOtters Holding Hands - storie della buonanotte e del buongiorno, season 2,curated by Ambra Vivianico-production Lumpen Station, KBCB Supported by Pro Helvetia, FSRC Swissperform, Kanton AppenzellFrancesca Boemia is a writer and translator person working between Naples, Tomsk, and wherever synesthesia takes her.She is into computational linguistics, programming, transfeminism (but who isn't?), antiputin Russia (well, someone isn't), throat singing (alas, mostly throat and little singing), interactive fiction, the south of Italy (or mostly is the south that's into her, she's just trying to escape it), Elena Schwarz, karma fixing, the future of the plot, the language of the плоть and a lot of other things she would explain if she weren't such an iconoclast.She once heard two rivers cunninging beach other and giving birth to a bipolar star. Here she tries to report it.
A conversation with Tom MarioniRecorded on 25.03.24 in Kunsthaus Biel Centre d’art Bienne, le StudioloHost : Andrea Marioni / Guest : Tom Marioni / Duration : 01:04:58Visual : Studio Vanieli / Photo : Courtesy of Tom Marioni / Co-production Lumpen Station & KBCB
Lumpen ConnexionsSeijo and her soul, Karen Wener2023 / 16:47 / Image created by Amy Franceschini Co-production Lumpen Station and Karen WernerSeijo and her soul is an ancient ghost story, likely of Chinese origin. I encountered the story while studying Zen Buddhism. The story of Seijo and her soul is included in Zen koan training intended to deepen practice. Seijo and her Soul is a rare koan with a female protagonist. The story is of a woman who has to choose between her love and her home, chooses love and then separates from her soul. At the end of the story, Seijo encounters her soul again and we are asked: which is the real Seijo? This telling for Lumpen Station is woven into the FM radio spectrum, interference and distances between. Karen Werner is an artist and sociologist creating radio performances and stories for broadcast and narrowcast. She makes conceptual, experimental radio stations of various scales and forms including SkottegatenFM, Radio Multe 93.8FM and an unnamed shadow/ jamming station and is a member of the international feminist group, Shortwave Collective. Karen lives in Bergen, Norway, where she is an Artistic Research Fellow at at the Faculty of Art, Music and Design, University of Bergen.
Lumpen Connexions: LIKE A TELEPATH, by Diana Duta & Florence Catsin collaboration with http://jaaambes.beHosted by Lumpen Station, production Jaambes ‘Like a telepath’ pieces together a week-long journey of remote recordings. ‘Emitting’ and ‘receiving’ from a small island and from a city simultaneously, in order to mimick a radio device. To do this, we would start the recording of our parallel transmissions at the same moment in time, using the distance between us as a space to connect. What you hear is a photograph of a thought, a long, windy line tracing a series of synchronous compositions. Cover a moment, remain standing, crumpling paper in your hands. A phone rings – s in the past.Brussels – L’Île-d’Yeu, May 2023Diana Duta is a Romanian-born, Brussels based artist working with sound in hypnotic ways, with a background in art and socio-cultural linguistics. Her work focuses on concepts of mimesis, translation and echoic memory, with an ear on our relationship to the non-human, embodied sound and the act of listening. She makes music performances (as DIAN), works for radio, sound installations and collaborative translation projects.Her project Jambes founded in 2019 is a recording studio commissioning new work by artists experimenting with sound and the voice. Quille podcast is an limb branching out from Jambes that collects interviews with sound practitioners.http://dianaduta.comFlorence Cats is a visual & sound artist and acupuncturist from Brussels who uses theremin, light, water, color and energies. Her ‘transparent music’ tunes in to space and ambient silence, and is inspired by natural radio. She has curated of a series of exhibitions around water, signs, transmutations, and is the co-author of several books including ‘Lavori in corso’ (primitive press, 2020). She released ‘Ys’ on ediçoes CN in 2022 and ‘correspondances’ on frissons in 2021. She was also a member of The Asocial Telepathic Ensemble (corvo records, 2022) and often collaborates with other musicians and artists, such as Brandon LaBelle, Clara Levy, Bogdana Dima, Mauricio Amarante, Joseph Charroy.https://florence-cats.com/
OHH - Where do I want to be tonight? by Daniele Formicacurated by Ambra Viviani - Associatesco-production: Lumpen Station Daniele Formica's work comes from the impulse to internalize and repurpose the universe to its people. Combining cross-disciplinary knowledge and everyday banality, he composes a repertoire of linguistic revelations, schizophrenic theories, and poetic claims. _____________I recorded myself reading aloud “Where do I want to be tonight?”. This is one of the texts I am writing these days. If you are interested in more of them, please contact me at danieleformica96@gmail.com. Happy 2024 everyone!
A conversation with : Pascal Lopinat enregistrement de l'émission du 21.03.24 diffusée depuis le Kunsthaus Biel Centre d'art Bienne - Le Studiolo Production: Lumpen Station - KBCBPendant une conversation le percussionniste et multi-instrumentiste Pascal Lopinat partage son parcours, ses processus de création et ses différentes collaborations avec des artistes de plusieurs disciplines. Cette émission fait partie du cycle de focus sur la scène biennoise qui s'articule par plusieurs émissions tout au long de la résidence de Lumpen Station au KBCB.
A conversation with : Emlio Nasserrecorded in Kunsthaus Biel Centre d'art Bienne - le Studiolo, 21.03.24production: Lumpen Station - KBCBInterview made during the Shipwreck of Dream, exhibition in Photoforum Pasquart A conversation with is a series of talks with artist about their early works, how they start their practice, how they face career and their current projet.
CREPA 9 : Eleonora Polato et Antoine LangSujet : Expérimentations culinaires, mycélium, guimbardeco-production: Lumpen Station, Copy Pasta Cette neuvième session du CREPA donne à entendre une documentation sonore presque exhaustive des 3 jours de partage offerts par Eleonora Polato et Antoine Läng au milieu d’une joyeuse cohorte de gens. Eleonora se définie comme artisane sonore, technicienne et monteuse son, amatrice de champignons et laborantine éparpillée. Antoine est vocaliste expérimentateur, compositeur, également amateur de champignons et autres formes organiques de comestibilités.Les 45 prochaines minutes sont une oeuvre toute collective de passage de micro, de réalisation de gnocchis à 15 paires de mains, d’élipses sonores sautant d’un atelier mycélium à un orchestre de guimbardes où l’on sent toute la générosité derrière ces quelques jours passés ensemble. On commence tout de suite avec une recette un peu particulière que je vous laisse apprécier. Bonne écoute !
CREPA 8 : Matthieu HardouinSujet : Composition, création sonoreco-production: Lumpen Station, Copy Pasta La huitième session du CREPA accueille le musicien-chanteur-guitariste-compositeur-performeur-graphiste et réalisateur-présentateur de programmes télévisuels Matthieu Hardouin. En 4 jours, Matthieu a réalisé une création cinémato-sonore in-situ dans les environs du plateau de Retord, à Chantemerle, où s’est déplacé le CREPA. Mais avant de vous faire écouter le résultat de cette rencontre, Matthieu et moi avons échangé quelques mots autour du processus de composition. La discussion a eu lieu dans une vieille voiture dont je vous laisse le plaisir d’apprécier l’environnement sonore. Bonne écoute !
CREPA 7b : Grégory ChapuisatSujet : torréfaction maison, pain sans petrissageCo-production: Lumpen Station, Copy PastaNous initions la saison 2022 du CREPA avec une septième session tellement foisonnante que nous la publions en 2 épisodes. Dans cette deuxième partie, l’artiste plasticien Grégory Chapuisat, connu - entre autres - pour son amour du bois et des champignons - nous offre ici un tour d’horizon de sa nouvelle passion : le café. Torréfaction, cupping et mouture sont abordés au détour de dégustations en groupe où l’on entend la vie collective qui bourdonne et où l’on teste également une recette de pain sans pétrissage et sans glucides. Une nouvelle saison du CREPA riche en moments partagés qui ont pu voir le jour grace à l’accueil chaleureux du collectif Chantemerle et à la mise à disposition de leur atelier. Merci infiniment et bonne écoute !
Prologue d’une visite d’expositionsDebbie Alagen - Complex, Sveta Mordovskaya- Costume, curation : Paolo BaggiRecorded on 14.03.24 in Kunsthaus Biel Centre d’art Bienne, le StudioloCoordination and animation : Andrea Marioni / Duration : 01:39:09 / Visual : Studio VanieliCo-production Lumpen Station & KBCBEn prélude à la visite des expositions Complex de Debbie Alagen et Costume de Sveta Mordovskaya, le curateur Paolo Baggi présente brièvement les artistes, leurs pratiques et les inspirations à la bases des expositions. Ce prologue de visite d'expositions invite les futur·es visiteur·euses à s'immerger dans deux esthétiques singulières et qui offre une expérience stimulante dans l'espace d'exposition du Kunsthaus Biel Centre d'art Bienne
A conversation with Stephen FeltonRecorded on 29.02.24 in Kunsthaus Biel Centre d’art Bienne, le StudioloHost : Andrea Marioni / Guest : Stephen Felton / Duration : 00:53:18Visual : Studio Vanieli / Pictures of Stephen Felton’s artworksCo-production Lumpen Station & KBCBStephen Felton presented in KBCB the painting series Bugaboo Voodoo made in a few week of work on site. This recording is a conversation with Andrea Marioni about Stephen Felton's practice, influence and eventually relation with the act of painting.
Nodoby's sensory talesdiffusé au Kunsthaus Biel Centre d'art Bienne - le Studiolo le 29.02.24 production Lumpen Station - KBCBNobody’s sensory tales, propose une expérience sonore dans un format libre avec la participation anonyme d’intervenants reflétant certains aspects des bénéfices de n’être personne. S’extraire sporadiquement de nos rôles sociétaux, de n’être personne, devient parfois une nécessité, une bouffée de liberté et un moyen de se retrouver. Les récits s’entremêlent et offre un terreau propice au surgissement de voix d’expériences vécues, à des réflexions et introspections pouvant faire écho à nos imaginaires et peut-être même, à nos propres vécus de n’être personne, ou pas. « Vous vivez dans l’illusion et l’apparence des choses. Il y a une réalité mais vous ne la reconnaissez pas. Quand vous la réalisez, vous voyez que vous n’êtes rien. Et n’étant rien, vous êtes tout. Voilà. » Kalou Rinpoché, Jack kornfield (2000), Après l’extase la lessive.
Monuments Of Shadows by Grant JuriusLumpen connexions, co-production Lumpen Station and Grant Jurius, © 2023Description:Monuments Of Shadows , in relation to ongoing working theme: Animal Skin by Grant Jurius is a work that utilizes samples and found sonic material for a compositional piece that wonders about utopian ideas vs dystopian realities as a result of those ideas. The work is presented as a stream of consciousness + abstraction to consider constructive & destructive ideas implemented through the use of symbolism, architecture, design, advertisement, news media, sculpture, art & historical monumentsThe Animal Skin series looks at space and its surfaces as a living organism. Breathing, communicating, living with experiences that records the narratives that occur within them. The artist looks to monumental landmarks implemented by both man and nature. Posing questions to the values we place in monuments, architecture, design and its effects on nature and vice versa.
"Anche niente è qualcosa" Naama Freedman, with Giulio Tiberico-production Lumpen Station, november 2023 Anche niente è qualcosa is an existential reflection, corresponding to the artist's state of mind at the time of recording. Inspired by a passage in "Se questo è un uomo" by Primo Levi, the sound piece combines vocal and found object samples set over a layered but minimal musical soundscape. Manipulated excerpts from "Seinfeld" accentuate the duality of joy and grief in the human condition as explored by Levi.Narration: Giulio TiberiSupported by Ville de Bienne and Swisslos Kultur Kanton Bern
Natalie Portman is an artist collective founded in 2017, working between Zürich and Basel.Otters holding hands is curated by Ambra Viviani and co-production Lumpen StationEine schöne Pizza by Natalie Portman "A donkey a very small donkey came out of the wall and it was ssuchhh a small donkey so so small such a small horse yes and also a big horse and such a small donkey and the big horse at the small donkey and I find donkeys delicious I want to eat them. Now I have horses in my mouth in my muzzle look, plenty- do you realize I ate them? They say „help“ and I break them with my sharp teeth."Eine schöne Pizza is a stream of stories and thoughts recounted by Abbe. It features additional drums by Rémi Larpin. Supported by Ville de Bienne and Swisslos Kultur Kanton Bern
Performance Reihe Neu-Oerlikon, archives vol. 1Recorded in Oerliker Park, Zürich, 15.09.23 / Duration 01:45:27With Maricruz Peñaloza / Hosts : Andrea Marioni and Mahir Hrnjic / Visual : Studio Vanieli© Partnership Lumpen Station with Performance Reihe Neu-OerlikonRadio content supported by Ville de Bienne, SüdKulturFonds, Landis & Gyr Stiftung,FSRC and SWISSPERFORM
Somewhere between A-Z is the title of an unfeatured film from Jean-Luc Godard that was meant to explore poetry, language and the quest of sense using the letter sof the alphabets. Lumpen Station took this unused title in order to explore poetry practices and to seek what can be discovered between A and Z.Radio format © Lumpen Station Lumpen Station team met Marko Boninsegna during a research trip in Belgrade and discovered his practice during a radio show in Footnote Centre. During this short encounter, a certain curiosity was awaken for Rotterdam poetry scene, composed by people from different social profiles and not necessarily coming from academic background. Somehow, Rotterdam poetry scene is a street art, composing word-pictures of the city always mixed with peculiar gazes and inner states of mind.Recorded in Rotterdam, 26.11.23 with Mark Boninsegna, Peer Hommel, Amber Rahantoknam and Daniël Dee.Supported by Ville de Bienne
Performance Reihe Neu-Oerlikon, archives vol. 2Recorded in Oerliker Park, Zürich, 16.09.23 / Duration 01:26:57With Sophie Germanier, Sara Koller / Hosts : Andrea Marioni / Visual : Studio Vanieli© Partnership Lumpen Station with Performance Reihe Neu-OerlikonRadio content supported by Ville de Bienne, SüdKulturFonds, Landis & Gyr Stiftung,FSRC and SWISSPERFORM
Performance Reihe Neu-Oerlikon, archives vol. 3Recorded in Oerliker Park, Zürich, 16.09.23 / Duration 41:53With Ivana Mirchevska / Hosts : Andrea Marioni / Visual : Studio Vanieli© Partnership Lumpen Station with Performance Reihe Neu-OerlikonRadio content supported by Ville de Bienne, SüdKulturFonds, Landis & Gyr Stiftung,FSRC and SWISSPERFORM
Performance Reihe Neu-Oerlikon, archives vol. 4Recorded in Oerliker Park, Zürich, 16.09.23 / Duration 36:56 / With members ofRed De Tamboreras de Suiza / Hosts : Andrea Marioni / Visual : Studio Vanieli© Partnership Lumpen Station with Performance Reihe Neu-OerlikonRadio content supported by Ville de Bienne, SüdKulturFonds, Landis & Gyr Stiftung,FSRC and SWISSPERFORM
Performance Reihe Neu-Oerlikon, archives vol. 5Recorded in Oerliker Park, Zürich, 16.09.23 / Duration 54:03 / With Hristina Ivanovskaand Zorica Zafirovska / Hosts : Andrea Marioni / Visual : Studio Vanieli© Partnership Lumpen Station with Performance Reihe Neu-OerlikonRadio content supported by Ville de Bienne, SüdKulturFonds, Landis & Gyr Stiftung,FSRC and SWISSPERFORM
SOUNDGATE - Echoes from Macedonia 1, by Gjorgji JanevskiGjorgji Janevski is active in the musical scene of Skopje since decades and regularly shares his knowledge on the indipendent radio Kanal 103. For Lumpen Station, he composed a soundscape of the cultural scene and 2 playlists presenting Macedonian music from the last 20 years. Enjoy travelling with your ears !SOUNDGATE is a programm of cultural exchange and mutual curiosity with art scenes of several cities in the Balkans and curated by Lumpen Station. With the support of Ville de Bienne, SüdKulturFonds, Landis & Gyr Stiftung, FSRC and SWISSPERFORM
SOUNDGATE: soundworks with Darko Aleksovski Love letters is the adaptation into a soundwork of an ongoing project by Macedonian artist Darko Aleksovski. In this soundworks three love letters are read by the actress Delphine Ayrton, the voice is floating in different soundscapes and leitmotivs. SOUNDGATE is a programm of cultural exchange and mutual curiosity with art scenes of several cities in the Balkans and curated by Lumpen Station. With the support of Ville de Bienne, SüdKulturFonds, Landis & Gyr Stiftung, FSRC and SWISSPERFORM
SOUNDGATE - Echoes from Macedonia 3, by Gjorgji JanevskiGjorgji Janevski is active in the musical scene of Skopje since decades and regularly shares his knowledge on the indipendent radio Kanal 103. For Lumpen Station, he composed a soundscape of the cultural scene and 2 playlists presenting Macedonian music from the last 20 years. Enjoy travelling with your ears !SOUNDGATE is a programm of cultural exchange and mutual curiosity with art scenes of several cities in the Balkans and curated by Lumpen Station. With the support of Ville de Bienne, SüdKulturFonds, Landis & Gyr Stiftung, FSRC and SWISSPERFORM
SOUNDGATE - Echoes from Macedonia 2, by Gjorgji JanevskiGjorgji Janevski is active in the musical scene of Skopje since decades and regularly shares his knowledge on the indipendent radio Kanal 103. For Lumpen Station, he composed a soundscape of the cultural scene and 2 playlists presenting Macedonian music from the last 20 years. Enjoy travelling with your ears !SOUNDGATE is a programm of cultural exchange and mutual curiosity with art scenes of several cities in the Balkans and curated by Lumpen Station. With the support of Ville de Bienne, SüdKulturFonds, Landis & Gyr Stiftung, FSRC and SWISSPERFORM
SOUNDGATE - Cultural landscapes: Skopjie by Artan SadikuArtan Sadiku is an artivist and philosopher based in Skopje, Northern Macedonia. He offers here to the listeners a cultural landscape describing Skopje's local art scene in the last 20 years. SOUNDGATE is a programm of cultural exchange and mutual curiosity with art scenes of several cities in the Balkans and curated by Lumpen Station. With the support of Ville de Bienne, SüdKulturFonds, Landis & Gyr Stiftung, FSRC and SWISSPERFORM
The Offscreens, day 7 / Recorded in BaseCamp PopUp, Locarno, 09.08.23
01:54:31 / With Vivi, Delphine Ayrton, Aline Schüpbach, Branislava Chao, Charles de Agustin Paul Fritz / Host : Andrea Marioni / Visual : Studio Vanieli / Co production Lumpen Station, BaseCamp, Radio Gwen-FSRC With the support of Ville de Bienne
The Offscreens, day 1 / Recorded in BaseCamp PopUp, Locarno, 03.08.23
01:55:42 / With Lara Buffard, Fausta Joly, Cristian Ferretti, Jack Rush Host : Andrea Marioni / Visual : Studio Vanieli Co production Lumpen Station, BaseCamp, Radio Gwen-FSRC / With the support of Ville de Bienne
The Offscreens, day 9 / Recorded in BaseCamp PopUp, Locarno, 11.08.23
01:55:07 / With Vivi, Delphine Ayrton, Aline Schüpbach, George Louis Bartlett, Andrea Anner, Thibault Brevet / Host : Andrea Marioni Visual : Studio Vanieli / Co production Lumpen Station, BaseCamp, Radio Gwen-FSRC / With the support of Ville de Bienne
The Offscreens, day 2 / Recorded in BaseCamp PopUp, Locarno, 04.08.23
01:50:22/ With Lara Buffard, Fausta Joly, Cristian Ferretti, Karla Hiraldo Voleau / Host : Andrea Marioni / Visual : Studio Vanieli Co production Lumpen Station, BaseCamp, Radio Gwen-FSRC / With the support of Ville de Bienne
The Offscreens, day 3 / Recorded in BaseCamp PopUp, Locarno, 05.08.23
01:57:40 / With Lara Buffard, Fausta Joly, Alan Koprivec, Benjamin Laabmayr, Barnabé Masson / Host : Andrea Marioni / Visual : Studio Vanieli Co production Lumpen Station, BaseCamp, Radio Gwen-FSRC / With the support of Ville de Bienne
The Offscreens, day 4 / Recorded in BaseCamp PopUp, Locarno, 06.08.23
01:57:45 / With Claire Megumi Masset, Andrea Marinelli, Ruxandra Mitache, Marko Miladinović, Hayat Aljowaily, Clément Deneux / Host : Andrea Marioni / Visual : Studio Vanieli / Co production Lumpen Station, BaseCamp, Radio Gwen-FSRC / With the support of Ville de Bienne
The Offscreens, day 5 / Recorded in BaseCamp PopUp, Locarno, 07.08.23
02:03:29 / With Claire Megumi Masset, Andrea Marinelli, Ruxandra Mitache, Marko Miladinović, Rafael Dernbach, Jody Agus / Host : Andrea Marioni / Visual : Studio Vanieli / Co production Lumpen Station, BaseCamp, Radio Gwen-FSRC / With the support of Ville de Bienne
The Offscreens, day 8 / Recorded in BaseCamp PopUp, Locarno, 10.08.23
03:03:53 / With Vivi, Delphine Ayrton, Aline Schüpbach / Performance by Francesca Sprocatti and concert by Nello Novela / Host : Andrea Marioni / Visual : Studio Vanieli / Co production Lumpen Station, BaseCamp, Radio Gwen-FSRC / With the support of Ville de Bienne
Meet the residents - 2022-2023 Rodrigo Toro Madrid : Lessons EP2, co-produced by Lumpen Station, 2023
Made in its entirety from found tapes and old records with language exercises, L E S S O N S explores the different layers of comedy or tragedy in their situations, and their machine-like expressions.
Suisse: une phylogenèse #6 avec Roberto Biolzi, @ production Lumpen station, janvier 2023
Les succès militiaires des territoires de la Suisse primitives permettent d'envisager une expansion vers le sud, participer aux guerres d'italie et rapporter à la maison des capitaux acquis grâce au mecernariat. Cependant des divergeances entre les les premiers cantons rendent les choses plus compliqués et il est nécessaire de trouver un consesus entre les amibitions militaires des différents territoires alliés.
Suisse: une phylogenèse #5 avec Roberto Biolzi, @ production Lumpen Station, mai 2023
Pour le 5e épisode, l’historien Roberto Biolzi racconte une victoire éclatante de l'alliance des territoires de la Suisse primitive. A partir de cet événement marquant, les suisses seront reconnus comme des valeureux guerriers dans toute l'Europe et progressivement le nom des Schwytzois sera utilisé pour appeller l'ensemble des peuples réunis lors de batailles rangées.
Otters holding hands is curated by Ambra Viviani and co-production Lumpen Station Dolcissima by Kevin, is the third episode of this serie.
Presentation: Unborn project, romantically nipped in the bud by a cruel caress slumbering in time.
BIO Kevin likes to go to the sea even his friends, his family. Who hates him so much to take him away from the sea to bring him back sadly in the city ?
Selbstportrait in Musik #8 with Vera Trachsel and Beth Dillon recorded in Atomic Café, Biel/Bienne, 07.05.23Selbstportrait in Musik est une série de diffusion radiophonique depuis l’Atomic Café à Bienne pour donner la voix ou plutôt les platines à des artistes de la région biennoise pour partager « le temps d’un apéro » un autoportrait en musique. Attention, les contenus sont hauts en interprétations cryptées sur la personnalité de nos invité·es ! Contenu musical
Studio Mood #2 at Lisa Lurati As art practices requires often moments of solitude, mind trip, inner envision or simply to catch the wave, Lumpen Station asked to artists to share their personal playlist while working in their studio. Above to enlarge music knowledge, here the intend is to reveal a sort of original soundtrack in the backstage of art works. It's also a way for artist to moove from their usual sound zone and enter in colleages mood, eventually to refresh their own approaches or at least explore atmospheres while working (or not).
Selbstportrait in Musik #4 with Thalles Piaget recorded in Atomic Café, Biel/Bienne, 06.11.22 Selbstportrait in Musik est une série de diffusion radiophonique depuis l’Atomic Café à Bienne pour donner la voix ou plutôt les platines à des artistes de la région biennoise pour partager « le temps d’un apéro » un autoportrait en musique. Attention, les contenus sont hauts en interprétations cryptées sur la personnalité de nos invité·es ! Contenu musical
Studio Mood #1 at Lucas Herzig As art practices requires often moments of solitude, mind trip, inner envision or simply to catch the wave, Lumpen Station asked to artists to share their personal playlist while working in their studio. Above to enlarge music knowledge, here the intend is to reveal a sort of original soundtrack in the backstage of art works. It's also a way for artist to moove from their usual sound zone and enter in colleages mood, eventually to refresh their own approaches or at least explore atmospheres while working (or not).
Selbstportrait in Musik #7 with Marie-Jo Voyame recorded in Atomic Café, Biel/Bienne, 02.04.23Selbstportrait in Musik est une série de diffusion radiophonique depuis l’Atomic Café à Bienne pour donner la voix ou plutôt les platines à des artistes de la région biennoise pour partager « le temps d’un apéro » un autoportrait en musique. Attention, les contenus sont hauts en interprétations cryptées sur la personnalité de nos invité·es ! Contenu musical
Selbstportrait in Musik #6 with Andrea Marioni recorded in Atomic Café, Biel/Bienne, 05.03.23Selbstportrait in Musik est une série de diffusion radiophonique depuis l’Atomic Café à Bienne pour donner la voix ou plutôt les platines à des artistes de la région biennoise pour partager « le temps d’un apéro » un autoportrait en musique. Attention, les contenus sont hauts en interprétations cryptées sur la personnalité de nos invité·es ! Contenu musical
Studio Mood #1 at Franziska BaumgartnerAs art practices requires often moments of solitude, mind trip, inner envision or simply to catch the wave, Lumpen Station asked to artists to share their personal playlist while working in their studio. Above to enlarge music knowledge, here the intend is to reveal a sort of original soundtrack in the backstage of art works. It's also a way for artist to moove from their usual sound zone and enter in colleages mood, eventually to refresh their own approaches or at least explore atmospheres while working (or not).
Selbstportrait in Musik #5 with Josette Seydoux recorded in Atomic Café, Biel/Bienne, 11.12.22Selbstportrait in Musik est une série de diffusion radiophonique depuis l’Atomic Café à Bienne pour donner la voix ou plutôt les platines à des artistes de la région biennoise pour partager « le temps d’un apéro » un autoportrait en musique. Attention, les contenus sont hauts en interprétations cryptées sur la personnalité de nos invité·es ! Contenu musical
Migrants headbox by Andrea Marinelli & Kratu co-production Lumpen Station, released in may 2023 Vocal music flexes with more agility than any other at the change of eras, styles, ways of communication, movements. We offer here a brief mix of highly refined artists who destabilized the voice conception with a broad cultural spectrum from the ancestral music of the Greek migrants of the 19th century, to the rewritings of ancient music by Sainkho Namtchylak and Cathy Barberian to the crasis with electronics by Lucretia Dalt. Or rather, they dig the voice, they deepen it, resulting in an astonishing complexity alongside the simple magnetism of human wailing and all the sound of the body.Kratu [Serena Dibiase] and Andrea Marinelli are artists and performers both, with two eclectic researches that find a common genesis into voice, word and sound.https://kratu.bandcamp.com/andreamarinelli.net
Come se non ci fosse un domani – live at Balabiott museum during La straordinaria@lumpen station, recorded 24.03.23, podcast release in may 2023 Using the expression « come se non ci fosse un domani » (like there isn’t a tomorrow) as a starting point to ask artist to propose their relation with present and future. This archive render the peculiar atmosphere in the Balabiott museum during La straordinaria a Lugano, goes through some chaos, live performances, interviews and as well present works mady by artist from India curated by Premjish Achari.Artist invited: Ritaban Ghosh, Riccardo Lisi, Marko Miladinovic, Nikita Maheshwary, Akshay Pathak, John Readhead Jour 2 (même a part nom)co-host Rachel Monti Nadir Paltenghi, Ranjeeta River, Christof Steinmann, Premjish Acari, John Redheadje pense c'est tout
Quién hace tanta bulla, by Ale Hop & Ignacio Bricenoco-production Lumpen Station, released in may 2023 Peruvian artists, Ale Hop & Ignacio Briceno, join the celebrations for the 100th anniversary of the publication of Cesar Vallejo's Trilce, one of the most innovative and influential works of poetry in the Spanish language, with the sound artwork QUIÉN HACE TANTA BULLA, an exploration of sound-staging poetry. The radio piece weaves together poems I (Quién hace tanta bulla…), XLVII (Tengo ahora 70 soles peruanos…), LXIX (Qué nos buscas, oh mar…), XXXVI (Pugnamos insertarnos por un ojo de aguja…), along with an interview of literature professor Ricardo González Vigil. Vallejo's words on new poetry - "Often new voices can falter, yet as often the poem, without saying 'airplane', nonetheless conveys an airborne sensation in a way that is obscure and implicit, yet effective and humane"-served as the compositional north for the piece.The artists read and re-read the poems, together with Gonzalez Vigil's commented edition of Trilce and "Trilce – poema por poema" by Vïctor Vich and Alexandra Hibbett. The hermetic and fractured language in Vallejo's poetry is conveyed by means of sound's artifice - layering, sampling, autotuning, and other audio techniques used to resonate the emotion and meaning of his work.Trilce arose in the first decades of the 20th century in Peru, a time in which the model of modernity —a promise dismantled in Vallejo's poetry—brought about new tensions and social conflicts, that remain unresolved and exacerbated today. While we recorded this piece, social upheaval rises in the country in the wake of its 200th independence anniversary.(Recorded at L'Abri studios in Geneva, thanks to the support from the Swiss Arts Council Pro Helvetia South America.)
Otters holding hands is curated by Ambra Viviani and co-production Lumpen StationUnreliable Object by Federico Pozuelo has been released in may 2023 "Unreliable Object is a radio drama that explores our perception of reality through a story of love, contraband, and science fiction."Federico Pozuelo is a visual artist who explores the construction of historical and cultural narratives through different languages. In his latest works, he reflects on the construction of historical events, the aestheticization of political violence, and the theatricalization of cultural narratives through cinema._____________________________Unreliable Object by Federico PozueloNarrated by Francesca FloraOriginal soundtrack and sound design by Maria VirginWith a tracklist carefully selected by Arsider1. Dori Sorride - Vasame2. Colla - Vetri Rotti3. Marcangelo Malapianta - Vorrei Sparire4. Devi Tensione - Tanto Tempo 5. Detesta - Shadow of the Axe6. Cagasotto Atavica - Detto Male7. PantomimaXXX - Sessanta ___________________________Francesca Flora is a writer and performer deploying her voice and its machinic alterations to explore the affective and semiotic potentialities of poetic language in relation to political dynamics embedded in the everyday. Maria Virgin is a multidisciplinary artist that explores sound through different means. In his last works, he investigates the possibilities of applying experimental approaches to different media like cinema, popular music, and sound design. He founded Povera in 2017, a platform that hosts experimental culture in Turin.Arsider is an informal network of the audio technology sector founded in 2010, producing systems for speech synthesis and man-machine interaction. from time to time it may be a radio broadcasting device, a propaganda hub, or an independent production center for the dissemination of critical thinking.
Come se non ci fosse un domani – live at Balabiott museum during La straordinaria@lumpen station, recorded 24.03.23, podcast release in may 2023 Using the expression « come se non ci fosse un domani » (like there isn’t a tomorrow) as a starting point to ask artist to propose their relation with present and future. This archive render the peculiar atmosphere in the Balabiott museum during La straordinaria a Lugano, goes through some chaos, live performances, interviews and as well present works mady by artist from India curated by Premjish Achari.Co-host: Rachele Monti Artist invited: Nadir Paltenghi, Ranjeeta River, Christof Steinmann, Premjish Achari, John Redhead
Artist in residence 2022-2023Cross line II by Sara Lana, co-production Lumpen Station Release in april 2023This second episode of Cross line, is a compilation of calls made to telephones, all over the world, that were answered by calls mysteriously pre-recorded. Some appear to be trivial conversations, others telephone services or even spam calls.Crosslines is a series of 3 sound works created from calls made to public telephones all over the world.Multiple calls made to recipients hitherto unknown or even non-existent.The phones were found using maps with panoramic views of public spaces. The number of each phone was retrieved by crossing its coordinates identified on the route with information collected in the database of phone directories (yellow pages) of each country.
Otters holding Hands is a sound exhibition series curated by Ambra Viviani Lumpen station's associates curatorBetween pure rain and sea water, by Nora Berman, release in april 2023, co-production: Lumpen Station and Giulietta "The charismatic transmission of one’s attainment to another through the mystical process of love and adoration."Nora Berman is a Californian artist whose work seems to engage with notions of primal consciousness in a time and place (contemporary Los Angeles) that is informed by the Dark Web, conspiracy theory, religious hysteria, ecstatic lifestyle cults, paranoia, neurasthenic self-help, violence and saturation media.
Une conversation avec Jacques Fasel, EP:3enregistré en février 2014, interview d'Andrea Marioni, production @lumpenstation L'activité révolutionnaire en cours commence à se confronter aux premières difficultés, l'amitié reste une valeur centrale qui passe le mur de la prison et permet aussi d'organiser des évasions...
Fantasmagor EP2, by Renato Grieco, released in february 2021Meet the residents host different artist to create a long terms collaboration with Lumpen Stationco-production Lumpen Station Fantasmagór is a media-archeological speculation about imaginary audio equipment. This second episode appears as a talk by two members of Ritorna Digital, a private company that provides audio simulation services for everything related to prosthetics and medical devices.voices: Vanessa Rossetto, Mark Vernonadditional recordings: Andrea Kearney, Ruben Kearney White, Tom Whitemoving furniture: Matthew P. Hopkins, Canedicodawhispers: Karen Constance, Sara Persico, Dylan Nyoukisroom tone: Francesco Toninelli
Emma Souharce artist in residence presents:CREPA Centre de Recherche et d'Etudes en Pratiques AventureusesEP7 - Randonée ultra légère by Thomas Köppelco-production Lumpen Station Nous initions la saison 2 du CREPA avec une septième session tellement foisonnante que nous la publions en 2 épisodes. Dans cette première partie, nous écoutons Thomas Köppel nous présenter le contenu du sac à dos avec lequel il est venu à pied jusqu’au lieu du CREPA. Thomas Köppel est artiste multiformes, amateur talentueux d’électronique et de musique mais fait surtout parti du collectif de théâtre contemporain ‘ultra’. Depuis plus d’un an, Thomas se passionne pour ce que l’on appelle la randonnée ultra-légère : de quel matériel minimum avons-nous besoin pour voyager en autonomie par la seule force de nos jambes ? Comment allier confort et légèreté ? Une ébauche de réponse se dessine à mesure que s’ouvre un sentier de questions nouvelles lors de cette conférence au CREPA. Bonne écoute !
STRETCHING OUT, Radna RumpingLumpen connexions, co-production Lumpen Station, release in january 2023 “After stretching, it is possible to spring back into the original shape, like a rubber band, but in the meantime something has changed. There has been a shift.” STRETCHING OUT is an audio essay by Radna Rumping. In this 30 minute long text, she invites a silence, looks at a record cover of Bootsy Collins, builds and releases tension in an archery club, waits until binaries start to quiver and encounters the work of Renée Green. chapters: 0. the part that is the end, and the beginning1. two points2. staring3. training4. stretchin’ out in bootsy’s rubber band5. shift6. begin againAcknowledgements: All samples and music excerpts in this piece are from (members of) Parliament-Funkadelic, focusing on their songs of the 1970s. Thanks to Prem Krishnamurthy for introducing me to archery, and to Ingmar Bruin for the (audio) support. Radna Rumping is an artist and curator based in Amsterdam. Her work is engaged with music culture, relationships, public space, communality and conditions of (in)visibility. Radio and sonic explorations have run like a thread through her practice - in 2015 she co-founded Ja Ja Ja Nee Nee Nee, an online radio platform dedicated to the arts.
Hi’s master voice, Rodrigo Toro MadridMeet the resident, @co-production Lumpen station, january 2023 For the residency y propose a narrative divided in three chapters with sound elements that will involve experimentation with analog and mechanical recorded media: antique and modern gramophone records, handmade recordings, intervened record players, along with spoken word.In each chapter I’ll narrate personal stories that will relate memories from me and my family and diverse sorts of machinery or technology present on them (either real or fictitious). My interest relays on the following premise: physical media distorts a little bit with each play, as well as our memories are always different. Travelling to the past through obsolete media opens gates to alternate lifes, provides different plots and summons unexpected spirits.
BEZ ZUB, by Marko MiladinovicLumpen connexions, january 2023, © co-production Lumpen Station BEZ ZUB contains jingles, sound-poetry and canzonettə. Composed of unreleased tracks, forgotten sessions and superulteriori.@miladinowitzsch is a swiss-italian-ex-jugoslavian-not-yet-european poet. a———————00.00 intro vxrp00.41 più sì no02.03 subretta04.37 amantini05.16 ultimo sole06.57 ha-te09.00 che cosa ha a che fare con oggib—————————————11.40 tequila sexo nunca mas13.40 vostra madre è una gallina16.36 sii tirannə ti tiferanno18.56 ako bude bude (nisam mali mali)22.48 outro area25.00 w(r)a(u)t²
COM’È BELLO FAR L’AMORE DA TRIESTE IN GIÙ #2a sound exhibition with Djellza Azemi, Val Minnig, and Rebecca Solaricurated by Giada Olivotto & Camilla Paolinowith the support of ProHelvetia, Cantone Ticino - Fondo Swissloss, Temperatio Stiftung and Magica Opalinico-production Lumpen Station CANOVACCIO: Amanda Lear, Ho fatto l’amore con me, 1980 CP: Dear listeners, welcome back on CANALE MILVA: the web radio channel that since summer 2020 has been exploring the format of the sound exhibition, taking as its starting point some gems of Italian music chosen for you by Giada Olivotto and Camilla Paolino and reinterpreted by the visual artists we invite each time. The sound exhibition we are presenting today, introduced by the notes of Ho fatto l’amore con me by the legendary Amanda Lear, is the second in the column Com’è bello far l’amore da Trieste in giù, which was initiated in the spring of 2021 in the wake of a series of lockdowns that, at least in Italy, made it difficult to meet and therefore, in many cases, to make love. The title of the column, as seasoned listeners will have guessed, is taken from the famous Tanti Auguri: an evergreen of the Italian song, as well as an anthem of the LGBTQ+ community, released in the late 1970s by the CBS record label and distributed by Messaggerie Musicali of Milan, as the seventeenth single by pop singer Raffaella Carrà. Before we begin listening to the sound pieces collected in this sound exhibition, let's indulge in a moment of pleasure transported by the voice of the “National Raffa”!RAFFAELLA CARRA', Tanti Auguri, 1978GO: We have just listened to a few stanzas of Tanti Auguri, alluding to the theme of sexual liberation and, in particular, the liberation of female sexuality: a theme for which much struggle was waged in the two decades preceding the composition of the song in question. Let’s remember that this single by Raffaella Carrà was first published in 1978, at a historical moment that finally saw the emergence of new ways of thinking about and representing women’s bodies, sexuality, desire, and pleasure, beyond the more traditional and normative sociocultural models, inaugurating a reflection that is still ongoing in the contemporary moment.CP: A reflection that we wanted to share with the three artists involved in this episode of Com’è bello far l’amore da Trieste in giù, namely: Djellza Azemi, Rebecca Solari, and Val Minnig, who, for the occasion, collaborated with different artists, performers and researchers, thickening the network of encounters and exchanges that are kind of the beauty of CANALE MILVA. In response to our invitation, Djellza, Rebecca, and Val told us stories of love and lovemaking, but also stories of learning how to do it, familiarizing oneself with one’s own sexuality and navigating the power relations that encountering that of others can imply. Let’s hear these stories together. JINGLE GO: After this introduction to our column Com’è bello far l’amore da Trieste in giù, let’s begin our listening with the sound piece of artist Djellza Azemi, who usually works through the medium of sculpture by questioning the poetic space of home and shelter. Through sculptures and found objects, she creates narratives around ideas of transmission and transgression. For CANALE MILVA, Djellza collaborated with artist and musician Daisy Sane, producing a work entitled Fire Places. Their collaboration began back in 2021, when the two artists initiated a rock band project called Goodbye To Relations, which Sunna Margret was also a part of. With Daisy at the bass and Djellza singing, let’s listen to Fire Places here, on CANALE MILVA: a sonic piece that tells the story of different household objects. The track is rhythmically haunting and ambiguously sensual. Within this, sounds mix and couple with each other to give life to an uncanny domestic geography. And now let’s get lost with them - happy listening! Djellza Azemi, Fire Places, 2022 CP: Thanks to Djellza Azemi and Daisy Sane for Fire Places, which we just listened to. We now continue our listening with a piece that transports us from the domestic hearth to the streets of pleasure, as its title suggests: Pleasurestreet. This is an unreleased work by artist Val Minnig, created in collaboration with researcher Michelle von Dach and inspired by Angie Waltie’s sex education lectures. The sound piece is about the relationship between sexuality, language, and knowledge production, and prompts us to question the need to transform the way we talk and think about sexuality once sexuality itself and our perceptions of it change. The principle according to which it is necessary to be able to name things in order to think them and make them exist here applies to a sexuality that claims itself as autonomous and forges its own linguistic and thinking tools to affirm and represent itself. Val, Michelle, and Angie thus set out from the Dictionary of Sexuality to work on vocabulary. The following piece, a sort of pilot episode of a new radio program proposed by Val Minnig, is the result. Enjoy listening! Val Minnig, Pleasurestreet, 2022 GO: Many thanks to Val, Angie, and Michelle for opening a window into this new sound project of theirs. And now we end today’s sound exposition with a piece produced by Rebecca Solari. Rebecca is a transdisciplinary artist originally from Ticino, who lives between Amsterdam and Fribourg. Her practice is mainly based on questions of self-representation and sets forth to disrupt established codes, thus exploring multiple social, gender, and contextual identities. Rebecca is also a member of the electro-punk duo Crème Solaire and the music/performance project Lightning. For CANALE MILVA, Rebecca proposed the sound piece Freefight. A collage that presents itself as something not immediately recognizable, dense with sounds that seem to make love to objects, and creatures whose sex is unknown. In the scratchy quality of the sound, Rebecca tampers with the stereotypical imagery of sexuality, rather evoking someone touching or making love in a bar, in a room, on a bus. The interactions of the bodies involved act out with bumps, squeals, and enjoyment. The sweet combat emerging directly from the bodies of the FC BB project (Fan Club Belluard Bad Bonn, from the shores of Schiffenen Lake), also known as Crybaby Warrior, Pak Choi Kash, Diamond Ventura, and The hammer Dynamite. Freefight is ultimately a collection of pro-sex sounds, but also of confrontations, games, hierarchies, and forces, all channeled toward a collective act of resistance. Rebecca Solari, Freefight, 2022 CP: And this was Rebecca Solari with Freefight: the last sound piece of the exhibition Com’è bello far l’amore da Trieste in giù #2. We would like to thank Rebecca and all the artists and their collaborators who participated in the making of this new episode of CANALE MILVA. We would also like to thank Lumpen Station, again and always, for their hospitality, and the Magica Opalini Association, for supporting our sound project. Furthermore, we are happy to remember and thank our supporters: Pro Helvetia, Cantone Ticino―Fondo Swissloss, and Temperatio Stiftung, for helping us in the production of our annual program. We leave you once again in good company―the company of Amanda Lear―and look forward to the next episode. Stay tuned on lumpenstation.art: CHANNEL MILVA! JINGLE * Amanda Lear, Ho fatto l’amore con me, 1980 *
Une conversation avec Jacques Fasel, EP:2enregistré en février 2014, interview d'Andrea Marioni, production @lumpenstation Le sentiment de révolte grandissant Jacques évite de faire l’armée jusqu’à son emprisonnement pour désertion. C’est derrière les barreaux à la prison de Bellechasse qui fera la rencontre de Daniel Bloch un objecteur de conscience enragé contre l’armée et les contradictions de l’aisance Suisse. Leur rencontre sera le détonateur pour le début d’une activité de grand banditisme pensée comme moyen de financement d’une révolution…
Suisse: une phylogénèse #4avec Roberto Biolzi, @ production Lumpen station, janvier 2023 Pour le 4eme épisode l’historien Roberto Biolzi accompagne Andrea Marioni et les auditeur·trice·s pour un focus sur l’organisation militaire des peuples des alpes. Progressivement ces peuples seront appelé « Les suisses » et leur savoir-faire sur les champs de batailles vont avoir des échos dans toutes l’Europe. Des multiples victoires vont permettre au canton primitifs, surtout ceux de montagne, de rapporter des capitaux et équilibrer la précarité rurale.
Animal Skinsound work composed by Grant Jurius, co-production Lumpen station LUMPEN CONNEXIONS is a room dedicated to host sound works by artist coming from different backgrounds and around the worlds. Animal Skin is composed from field recordings collected during the artist's art residency program in Basel, Switzerland, July - September 2022. Animal Skin is an ongoing project that includes a series of paintings and sonic compositions that focuses on texture, space, wall surfaces + natural environments. The project looks at space and its surfaces as a living organism. Breathing, communicating, living with experiences that records the narratives that occur within them. The artist looks to monumental landmarks implemented by both man and nature. Posing questions to the values we place in monuments, architecture, design and its effects on nature and vice versa. *Grant improvises as layers the field recordings intuitively to evoke the feeling of traveling through the space explored. This conveys the sense of someone finding their way through the dark as they navigate the environment.By placing emphasis on the spaces that surround us we may hear back narratives lost and found through texture. The artist utilises space as a means of call and response similar to ancient ritual. Treating modern urbanised spaces as sacred places new values in them and thus opens the artist to these narratives
ATLANTIDEE #2a sound exhibition with ৺ ෴ ර ∇ ❃ ﹌﹌curated by Giada Olivotto & Camilla Paolinowith the support of ProHelvetia, Cantone Ticino - Fondo Swissloss, Temperatio Stiftung and Magica OpaliniThe second sound exhibition in the Atlantidee column stands in continuity with a trajectory initiated last year in September, in conjunction with the exhibition From Submersion to Subversion curated by Giada Olivotto & Camilla Paolino at PALAZZINA, in Basel. On that occasion, artist Magali Dougoud was invited to compose a soundpiece for CANALE MILVA, first hit of the present column, to be also played within the rooms of PALAZZINA for irl visitors to listen to. We continue our submarine investigations with a polymorphic study group that was founded in 2020 and is active in Palermo, Naples, and Berlin ever since. Enjoy your listening!CANOVACCIO(TRANSCRIPTION & ENGLISH TRANSLATION)CP: Dear listeners, good evening! Welcome back on CANALE MILVA: the radio-web channel that since the summer of 2020 invites a number of women visual artists to explore the format of the sound exhibition, always taking as a starting point one gem of Italian music selected for you by Giada Olivotto and Camilla Paolino. Atlantidee, in this sense, is a bit different from the other columns, because it is not precisely dedicated to a specific Italian song and/or singer, but rather deals with maritime cultures more in general, centering on legends of underwater or underground worlds that invite us to imagine possible alternative ways and forms of life. In other words, this column and the related sound exhibitions are meant to set us wondering on the revolutionary potential of tales and stories that deal with submerged worlds and their legendary inhabitants. Tonight, to be closer to the sea and hear its voice, we broadcast from the Trieste Riviera.GO: For this second episode of the Atlantidee column, we invited a polymorphic study group founded in 2020 between Palermo, Naples, and Berlin, whose name is unpronounceable, being composed of symbols (as follows: ৺ ෴ ර ∇ ❃﹌﹌ ). The collective is composed of Sonia d’Alto, Sofia Melluso, Nao, Susanna Gonzo, and Claudia Gangemi. Their intent is to explore the intersections of feminism and the Southern question by reworking historical myths and traditional narratives, in order to create multi-temporal alliances with the present. Their approach involves the use of the dialogic form and self-education as collective practices of imagination. The methodology they explore as a group consist of “listening to a place”: its landscape, its past and future memories, its human and nonhuman inhabitants, its dream substrate. So, listening to all this and engaging in a dialogue with it. Their explorations take place through collective exercises, such as autocoscienza, collective writing and drawing, group readings, field recordings, sound meditations, self-hypnosis exercises, rituals, and psycho-fables.Together, the five worked on the composition of a sound piece divided into four parts, meant to take us on a sail through an archipelago of sound fragments. These multi-voice and verse fragments are inspired by a seaside vacation spent on the Isola delle Femmine and Scicli. The mix of mythopoetic suggestions we are about to listen to might lead us back to images such as dancers under ketamine, mysterious rituals, and mermaids who, instead of singing, cook underwater.CP: Without further ado, let us listen to the four fragments of the sound piece Il passaggio alla terraferma non è un processo irreversibile (the transition to mainland is not an irreversible process), with its mythical places and its hybrid and mutant creatures. Enjoy your listening![sound piece: Il passaggio alla terraferma non è un processo irreversibile by ৺ ෴ ර ∇ ❃ ﹌﹌]GO3: Many thanks to the collective ৺ ෴ ර ∇ ❃ ﹌﹌, composed of Sonia, Sofia, Nao, Susanna, and Claudia, who worked on the soundpiece titled il passaggio alla terraferma non è un processo irreversibile. If their sound piece has intrigued you, you can pin two titles from their library: Ragazze Anfibie, taken from Femminismi futuri, teorie, poetiche, fabulazioni, edited by Lidia Curti; and I miti allo specchio. Riscritture femminili liberamente ispirate al mito, edited by Sara Manuela Cacioppo, Giovanna di Marco, and Ivana Margarese. This is the end of this second sound exhibition of the Atlantidee column.CP3: We would also like to thank, as always, Lumpen Station, which has been hosting us for two and a half years now, as well as the Magica Opalini association, which cares for us, and also Pro Helvetia, the Temperatio Foundation, and the Swisslos Fund of Canton Ticino, for their precious support. Thank you, everyone, for listening: we leave you to the Mediterranean notes of Giuni Russo and look forward to the next episode. Stay tuned on lumpenstation.art: CANALE MILVA!
Lumpen Prize : Godzilla Calling for the first time, Lumpen station organised a prize open to all participants who wanted to create a sound work on the theme "Godzilla Calling"All contributions have been presented during a public listening session at café litéraire the 12.10.22. The particularity of Lumpen prize is that the audiene decide the winner by votation in real time during the ceremony. An external jury was present to suggest criterias of appreciations in in order to improve audience votes. The winner received 1000CHF. A "Beautiful looser" prize have been created during the live radio to give a mention to a work which had high potential but didnt pass the votre selections. Lumpen Prize Winner 2022 : Tizmiz Lumpen Prize "Beautiful looser": Giorgia Garzilli Creditations of all participants, the list number is the order of how the works have been presented.All sound works without specific title will be metioned with "Godilla Calling"01. Farah Mulla, Godzilla.illa.illaFarah Mulla is a multimedia artist based in Goa. She uses sensorial interfaces in an attempt to deploy a language that gives form to intangible and varied materials. Her research and art practice explores the space in between sensory thresholds, where harmony isn’t present in the environment but fabricated by our cognition. Often investigating different media, she uses the human voice, field recordings and other modes of inquiries to explore aspects of our listening experience and the invisible agency of sound via multiple modes of perception.02. Andrea Marinelli, Godzilla PlumcakeAndrea Marinelli is an artist, sculptor and musician. His work develops between tradition and digital. He records choirs, lullabies, people who speak in dialect, in unknown languages. He creates textures and compositions with these voices. His performances are collages, work benches for a collapsing Babel 03. Ambra Viviani, Cereal KillerMinne de Curtis was messily cloned in 2016 from and by Ambra Viviani. Cereal Killer was her last experiment with Renato Grieco.04. Mathias Pfund, Godzilla CallingMathias Pfund ( 1992) vit et travaille entre Genève et Bruxelles. Diplômé (work.master) de la HEAD-Genève en 2016 et titulaire d’un Master en Histoire de l’Art, faculté des Lettres à l’université de Genève en 2019. Sa pratique artistique recourt à diverses stratégies d'appropriation et compose des fictions exploitant la polysémie et les ambiguïtés (narratives et formelles) d'artefacts spécifiques. Je m'intéresse particulièrement à la représentation de l'art et aux diverses valeurs et idéologies qui la sous-tendent, avec une sensibilité particulière à l'art dans l'espace public. Les processus de copie et de reproduction jouent un rôle important dans mon travail, dont l'échelle peut varier du presse-papiers à la sculpture monumentale.05. Chris Frautschi, Godzilla CallingChri Frautschi gere l’espace d’art Lokal-int à Bienne et essaie d'être musicien dans le groupe Save My Skin Music.06. Marcel Horni, Gozilla CallingIch bin 1982 geboren und seit einiger Zeit künstlerisch tätig.Dabei geht es mir darum, wie ich die Welt sehe und lasse mich dabei oft von meinen Emotionen und Triggern leiten. Mit gefundenen Materialien, inspiriert von bereits bestehender Kunst, schaffe ich neue Werke.07. Hannah Beilharz, Gold Like the sun Hannah Beilharz is a multidisciplinary artist and researcher currently working on ecological grief as a transformative process within the ongoing climate crisis. ‘Gold Like the Sun’ is a grieving lament for the late stages of climate destruction, envisioning how we exist as bodies in this moment, voices together reaching, but failing to make sense of our own ending. The work brings together multiple recordings and written reflections on our bodily relation to the world around us, seeking to dissolve the boundaries between ourselves and ‘nature’ through blurred sounds, creating song as water, song as voices, song as landscape.08. Markus Aebersold, Rettacs Markus Aebersold, 1988 in Herzogenbuchsee (CH), lives and works in Basel, Switzerland. Since 2016, Aebersold is mainly working in Cooperation with Chris Handberg (*1989, Denmark), with whom he forms the Artist Duo Aebersold x Handberg. In September 2022 he started his Master Studies in Sound Art at the HKB in Berne.09. Marie-lou, Godzilla got silly My name is marie-lou, i currently live in basel for my studies in scenography. I like to record funny noises and edit them to beats - most of them are unfinished, but i also like that. I also like poems and dishes with cheese. 10. Giorgia Garzilli, Besame Mucho Giorgia Garzilli completed an MFA in Visual Arts (Work.Master) at HEAD-Genève in 2018 and attended the Mountain School of Arts in Los Angeles in 2020. She lives and works in Naples.11. IDOSÔIDOSSound-radio activist. Dedicated to the diasporic record and the creation of sound hyperlinks. Especially interested in ancestral expressions, anthropology and the futurist and ethnomusicology of art, the healing power of sound and the free circulation of ideas. 12. Ce PamsAudiovisual and sound artist. Her sound research is spontaneous, experimental and explorative, rescuing the sound of everyday objects and disused materials, with an emphasis on natural elements such as wind and water as autonomous systems that interact with technological processes and human beings.13. Riccardo Lisi, GodzillaMicioneCallingContemporary art curator and performer, living in a village on the ItalianSwiss border. Occasionally since 1998 he has been making audio sets in which he creates sound spaces composed of overlapping layers from different cultures and eras, often using radio and chance. Here one of his live sets (in an independent art space in Bologna): https://www.mixcloud.com/Gelateriasognidighiaccio/riccardo-lisi-live-set-at-gelateria-sogni-di-ghiaccio_tau-ceti/14. Aaege, Godzilla BHZFrench musician doing experimental music.Playing with sounds of life, with all that can be sounds."Tout est bruit pour qui a peur » Sophocle15. Renato Grieco, God-zilla Le Druid Guillaume is the MC and drummer of the Italian noise band Genital Warts. They have collaborated with Abstral Compost, C_C, Dj 2Phast, Dj Die Soon, Walter Gross, Olivier Di Placido, Gaia Leandra, Grizzly Imploded and released records via Subincision, Viande, Hail Ants. 16. Rafael Cunha da Silva, GodzillaMy name is Rafael Cunha da Silva, I am an artist based in Lausanne and I studied in HEAD Geneva. I work with sculpture, painting, comics and I create links between these various mediums. I use to integrate entertainment, pop-culture, food, and concept like « playability in art » like a leitmotiv. Also, my work is as well « fun » than critical, so I try to implement these philosophy in my propositions. "Call of Narusawa-Hyōketsu » is a sound based on a reinterpretation of the apparition of Godzilla. My proposition take place in an ice cave located in the Aokigahara forest in Japan. I imagined a sound who could possibly produce this creature in a dark, cold and full of story place. This creature is caused by humans, so I use my own voice to bring Godzilla into being.17. Ruxandra Mitache, Godzilla Sound I often compose sounds, and poetry for my video artworks.Trained as a painter, I think my work will always have a particular plasticity.My practice is constantly expanding, but in my head I always paint.18. Rati Baramadze, Contrast (Godzilla Calling) The sound of nature has been replaced by urban noise and has become so natural that we often do not even realize how much it affects us. Cars, factories, buildings or other urban sounds combine to transform into one big chaotic white noise and make us feel constant tension and stress. The resonators and audio manipulations used on the field recording expresses exactly how the chaos we create absorbs the sound of nature and transforms it into everyday noise. With urban development, the contrast between city noise and the sounds of nature increases, Its perception is even simpler when the contrast is momentary. Rati Baramadze - self-taught electronic music artist, founder of the tape label "UNHEARD".19. Sonoso, Godzilla Calling"When the members of Sonoso are not busy making love, breakfasting, cooking or feeding the monkeys, they produce all kinds of art. Sonoso embraces all media and their world is a moving mishmash of words, sounds and images. Sonoso was created by Seat Seanut Bönnenberger and Bamia Beanut Baref"20. SumVivus, Godzilla CallingSumVivus, a solo artist, creates ripples through vocal soundwaves looped to create a choral ensemble of one. An ephemeral improvised or predefined ethereal expression of the space and time that she inhabits. An ever evolving experience creating honest intimacy with the moment. 21. Tizmiz, Exklusiv GODZILLA, Offizieller trailer 2022Tizmz is a kind of human entity living in between Bienne and Neuchâtel.They were born in the last century. This track ist their first collaboration.22. Wassili Widmer, Godzilla Calling Wassili is a visual artist who explores the sphere between the performativity of the human being, especially through the body, and the representation it can assume. In their work they have repeatedly addressed the theme of the monster, in particular by considering it as a phenomenological construct that reflects contemporaneity. Monsters are collective symbolisms that create themselves similar to shadows to the body.23. T&T, Godzilla GrooveT&T is da bomb! A duo of explosive musicians that ignited in 2022.They brought back the King of the Monsters and turned it into the King of the Dancefloor.
Selbstportrait in Musik #3 with Jeanne Jacob recorded in Atomic café, Biel/Bienne, 10.04.22 Selbstportrait in Musik est une série de diffusion radiophonique depuis l’Atomic Café à Bienne pour donner la voix ou plutôt les platines à des artistes de la région biennoise pour partager « le temps d’un apéro » un autoportrait en musique. Attention, les contenus sont hauts en interprétations cryptées sur la personnalité de nos invité·es ! Contenu musical
Objet Petit fergalicioussound work composed by Till Langschied, co-production Lumpen StationLUMPEN CONNEXIONS is a room dedicated to host sound works by artist coming from different backgrounds and around the worlds.
Fermentation workshop by Benoit Casot, Byungseo Yoo, Colin St. Mary Lumpen connexions, october 2022, co-production
Presentation : Fermentation workshop radio is a participatory audio program produced with Lumpenstation (https://lumpenstation.art/) by the Fermentation workshop collective, which is researching and practicing the commoning of art-institution through the concept and methodology of fermentation based on HEAD-GENEVE with the support of Utopiana (https://www.utopiana.art) This participatory program, which ferments the vegetables through the food rescue process and shares it with the participants, consists of storytelling of the food rescue and fermentation in an allegorical format, interviews with people who are engaged, and an empirical and practical audio recipe. This event shares fermented foods with the participants, and the participants share their own experiences and impressions related to fermentation while they are having collective dining.
Detailed description: Fermentation workshop (ongoing project since 2021) is action research that takes place on-site at the art institution, HEAD-Geneve in particular.
The basic concept of the research was initiated from the idea of reappropriation of the resources that are given to art students. In most cases, art students produce physical and digital objects by using these resources. The objects which shall be called artworks flow into the (pre)art market. However, while only a few artworks are survived as it supposed to, the others are forgotten and left behind. And most cases these objects are thrown as garbage after the evaluation process. This action research investigates this process to shift it from the abusive capitalism-dead-end flow to common the resources of the art institution by methodologies of the fermentation.
A spontaneous, non-explicit group of students organize visits to a supermarket near the HEAD-Geneve every Tuesday for food rescue. On Wednesday, La Soupe! Collective uses vegetables from the food rescue to cook an accessible lunch for students which cost 5 CHF. Leftover vegetables are subjected to Lacto-fermentation through the open workshops presented by the Fermentation Workshop.
The fermentation products produced through this workshop are distributed through the underground bio market temporarily installed at the institution (HEAD-Geneve) to raise emergency relief funds for students in financial difficulties.
The Fermentation workshop radio will be held at art Space Utopiana in Geneva deals with the collective run by students enrolled in HEAD-Geneve. In this program, which appropriates the grammar of a traditional radio program to try to read and speak critically about the current food and culture, the participants are invited in advance to share the food prepared by the collective and share their experiences and stories. The public conversations with the participants will be recorded and edited, merged with the existing recordings (storytelling on the food rescue, interviews with people who are engaged, original scores, etc.), and will be finally released through Lumpenstation in November 2022.
Fermentation Workshop aims to create a platform to transmit the emotions, feelings, and knowledge by sharing the methodology and the concept of vegetable fermentation especially the methodologies that are oriented in the Asian region to create kinship and to remind ourselves as a being of biophilia and to create symbiogenesis, sympoiesis way of living and thinking and doing in the current systemic crisis.
I love u leave me alone - an ode to a mother by Mor Dovrat Lumpen connexions, release in november 2022
A symphony of daily banal anticlimactic sounds turning into an enchanting rhythmic-entropic sound installation. Lullabies, pumping milk, cleaning dishes, saying “no”, screaming “no”… .
Routine transposes into a sacred pattern of pulses and sounds. Dark thoughts float and are channeled into an awkward regaton schlager and shakes the desperation away. As a non musician that composes electronic music for her own performances and films, Mor puts intuition before theory while questioning the mathematical structure of rhythm and tonality. Mor Dovrat is an Israeli performance-artist based in Biel. With her work Mor makes existential paradoxes visible with the help of self-irony. In 2010, she graduated in physical theater from the "Sofy Moskowich Art of Acting School" in Tel-Aviv. In 2016 Mor completed her education with an MA at the "Accademia Teatro Dimitri". In the same year she presented her debut short film "MY FORELOVE" as a director at the 69th Cannes Film Festival. In 2017, she co-founded the theater company "thank you for the compliments" (Freedom of Speechless, Saturn Machine, M.E.G.A - Make Earth Great Again, MISENTO). In 2019 she initiated and co-founded the Biel artist platform "KarteNoire2502". Mor won the OFF-STAGE- grant of the canton of Bern for 2021.
We talk about art, La variante Tony Morgan, avec Claude Hubert-Tatot entretien enregistré à Genève le 06.10.22
"Depuis son Angleterre natale, Tony Morgan n'a de cesse de bouger, autant sur le plan géographique que sur le plan formel. En effet, cet artiste touche à tout saura traverser son époque en s'essayant à plusieurs pratiques artistiques, tout en se référant toujours à la peinture. Claude Hubert-Tatot, responsable du TM Studio à Genève qui s'occupe des archives de Tony Morgan, porte à la lumière le temps d'un échange orale,un parcours d'artiste singulier qui a su se préoccuper des préoccupations de ses contemporains en proposant une variante personnelle"
Entretien par Andrea Marioni une production Lumpen Station, avec le soutien de la Ville de Bienne et Swisslos Kultur Kanton Bern, ©lumpenstation
https://fr.wikipedia.org/wiki/Tony_Morgan_(artiste)
Nocturnal Episodes by Diane Barbé Lumpen connexions, release in november 2022
Nocturnal Episodes is a continuous exploration through several dreams that occurred to me in the summer 2022. As the western world picked up again on a post-Covid productivist frenzy, the need for slowness and respite arose through the restlessness. I wondered what dreams and what ideals we pursue as a society; what futures do we want to build together? what connexions do we attempt to weave with the sacred and with the horrible? how can musical practices, in playing and listening, help us find a way to focus on the crucial needs for healing, resilience, fairness? Weaving together spoken word, flute, field recordings and substractive synthesis, this piece explores the wide spectrum of imaginaries to create a type of cinema-with-no-images. Nocturnal Episodes was created by Diane Barbé, sound artist, curator and researcher currently based in Berlin.
Echo Chamber #2, by Wassili Widmer
After the first episode of Echo Chamber reflected on the topics of voice and narrativ, this episode will thematise echo and reverb. Part of this will be a deeper reflection of the myth of Ekho and voice experiments. The myth of Ekho is an essential part and basically the origin of the Echo Chamber series. In this episode it is dissected from different angles, including the thoughts of Echo Chamber episode 1 and a psychological study of the effects of repetition frequency on the effect of illusory truth. The story and sound phenomenon of Echo are interwoven with a critical reading of the darker sides of the story, which includes themes of dehumanisation, disembodiment, and narcissism. This episode of Echo Chamber is not the lightest, but is meant to encourage us to question dominant narratives. It is also an experiment in examining details of social structures through mythological stories and sound.
You would not be just an ornament, by Tatiana Heuman
It is possible to access new interpretations of the urgencies of the current reality through rest. Dreaming acts as an engine to continue when everything around seems to indicate that one of all ends is approaching. Floating, hidden somewhere, appearing randomly, my dear dream, Should I talk to you or about you? Because you seem to be a form of life, Have we talked too much about you, Have we talked too much with you? I don't think so. Not enough. So I imagine this possibility: talking to the dream as a concrete entity, a character, a body that can act just like me. I should invoke it to interrupt the productive and demanding everyday life. To awaken this assembled but paranoid creature in which threads of memories tangle and untangle. An unexpectedly alien intelligence, a precision mechanism nesting in the most elusive corridors of our intimacy.
Idea, edition, music: Tatiana Heuman Dramaturgy: Guido Wertheimer
Artwork:Linfa
Voices (in order of apparition): Tatiana Heuman Vareila Mairanga Dieu Hao Do Mariana Carvalho
The texts included in this piece come from these books and authors: Un departamento en Urano by Paul B. Preciado La inteligencia del sueño by Anne Dufourmantelle Este es el momento exacto en el que el tiempo empieza a correr by Ana Llurba
24/7 Late Capitalism and the Ends of Sleep by Jonathan Crary Recorded 01.08.2022 - 8.09.2022 Duration: 21:09 Co-produced by Lumpen Station Supported by Ville de Bienne, Swisslos Kultur Kanton Bern
LA PANTERA, L’AQUILA E LA TIGRE: DIVE #1 a sound exhibition with Giorgia Garzillli, Maya Hottarek, and Gaia Vincensini curated by Giada Olivotto & Camilla Paolino with the support of ProHelvetia, Cantone Ticino-Fondo Swissloss, Temperatio Stiftung, and Magica Opalini We are glad to announce the launch of the first sound exhibition of the column La pantera, l’aquila e la tigre: dive #1 (the panther, the eagle, and the tiger: divas #1), built around the three mythical figures of the Tigress of Cremona, the Eagle of Ligonchio, and the Panther of Goro, three monikers respectively attributed to Mina, Iva Zanicchi, and Milva. In other words, three singers who, in postwar Italian popular culture, took on the fantastic traits of zoomorphic deities in the eyes of their fans. This column will gather reflections emerging from their singing and performances, and tackling the practice of naming; celebrity culture and the figure of the diva; multispecies hybridization; and the mechanisms of mythical construction in popular culture.
CANOVACCIO #8
Dear listeners, welcome back to CANALE MILVA: the web radio platform that has been exploring the format of the the sound exhibition since summer 2020. The starting point of our sound exhibitions is always some classic of the Italian song, selected for you by Giada Olivotto and Camilla Paolino and re-interpreted by the visual artists whom we invite for the occasion. Today is a special day because we are inaugurating a new column, titled “La Pantera, L'Aquila e La Tigre: Dive” and built around the three mythical figures of the Tigre di Cremona, the Aquila di Ligonchio and the Pantera di Goro, which, as our more experienced listeners might know, were the nicknames respectively given to Mina, Iva Zanicchi, and Milva by their fans. So, three Divas of the Italian song who, in the 1970s popular culture of the peninsula, took on zoomorphic and fantastic traits in the eyes of their fans, because of their roaring, shrill, or scratching voices, but also because of their postures, stage presence, and the ability to take up space and defy costumes.
This somewhat crazy column is inaugurated by three heterogeneous sound pieces, composed for us by the three artists who took up the challenge to participate in this first exhibition of “La Pantera, L'Aquila e La Tigre: Dive”. They are Gaia Vincensini, who worked in collaboration with Nawfal, Giorgia Garzilli, and Maya Hottarek, whom we take the chance to greet and thank from the bottom of our hearts. So let us listen together to their sounds, singing, and spoken compositions inspired by the mythical figures of the Tigress of Cremona, the Eagle of Ligonchio, and the Panther of Goro. Rrrroar!
JINGLE Let’s begin our listening with the sound piece composed for us by Gaia Vincensini in collaboration with Nawfal. The two authors first met inside a white limousine. Sinking to the bottom of a flute, Gaia and Nawfal introduced themselves to each other on a birthday evening. Wrapped in the effervescence of a golden liquid, the two watched the bubbles head upward, away from the cosmology of the rational. Among the blond waves, the roar of the engine can be heard echoing. Two stars of the earth in incognito, in a submerged, bumpy path. Gaia and Nawfal’s sound piece describes through sounds the magic triggered on that night: an immersive moment that took the two through an experience of imaginative mutation, of a roaring life swimming in champagne. sans titre (premiere collaboration) deals with the impossibility of mutual understanding and the antinomian desire for community. On our instagram page you will soon find the narrative text that Gio Ventura wrote for sans titre (premiere collaboration), freely cited above. And now, let’s listen to the sound piece together!
[GAIA VINCENSINI - Sans titre (premiere collaboration)]
Thanks again to Gaia Vincensini for this piece, which, we remind you, was made in collaboration with Nawfal, whom we also thank very much. Let us now continue our listening with a sound piece by Giorgia Garzilli, with a title as beautiful as it is long, which I will now read to you: “Cuando estas aqui con migo esta tina ya no tiene pirañas sino nishikigoi” - here we go. A title that comes from a line of the famous song “The Sky in a Room,” which in its original version goes like this: “when you're here with me, this room no longer has walls but trees,” etc. etc. In our case, however, we are not talking about walls and trees, but rather about piranhas and nishikigoi, i.e. carps: two free associations of ideas proposed by the artist to immediately plunge us into the strange world of WWE (World Wrestling Entertainment) and, in particular, of women's WWE, inhabited by wrestling Divas and fighting fish. Thank you, Giorgia Garzilli, for this extravagant proposal, and thanks also to Camilla Salvatore (who in the sound piece interprets Consuelo Velazquez’s famous “Besame Mucho”) and Ambra Viviani (by now, a regular on CANALE MILVA) for lending their voices to Giorgia and all of us.
[GIORGIA GARZILLI - Cuando estas aqui con migo esta tina ya no tiene pirañas sino nishikigoi]
Many thanks to Giorgia Garzilli for sharing with us her talent for storytelling and her ability she had to amalgamate voices and experiences in the eclectic sound project she orchestrated. We also take this opportunity to thank Ambra Viviani and Camilla Salvatore, who lent their voices for the realization of “Cuando estas aqui con migo esta tina ya no tiene pirañas sino nishikigoi.” And now, let us be carried away by the notes of Maya Hottarek, who transposes the mythopoetic practice grounding our new column into the present moment, where the practice of associating a star’s name with a non-human species is actualized in the figure of AJJA, a legend of psytrance, known as The Spider. This nickname, given to AJJA by his fans because of his skills in the art of weaving mesmerizing, hypnotic musical textures in which the listener is likely to become entangled, gives the title to the piece Maya Hottarek composed for us, in the wake of a sonic speculation around a spider rave. Careful, little flies, not to fall into the trap that Hottarek - in the footsteps of The Spider - has set for us.
[ MAYA HOTTAREK - The Spider ]
And with the sound piece by Maya Hottarek, whom we warmly thank for her participation, we conclude the first sound exhibition of our new column “The Panther, The Eagle, and The Tiger: Divas”, dedicated to the fantastic divas who inhabited the scenes of the 1960s and 1970s Italy.
JINGLE
As always, we warmly thank the artists and all those who collaborated in the realization of this new sound exhibition! We would also like to thank Lumpen Station for its hospitality and Pro Helvetia, Temperatio Stiftung, and the Swissloss Fund of Canton Ticino, as well as the Magica Opalini association for supporting our project. Last but not least, many thanks to all the faithful listeners who have been following us since summer 2020: we’ll be back soon with the next episode of CANALE MILVA!
2 Rush 2 Breath, By Louis Hector
2 Rush 2 Breath is an exercice in contrast that uses the breath of the turbo as a metaphor for an overwhelming atmosphere. ten mechanic whistles had been tuned and provided with diverse accessories and devices such as digital resonators and shimmering spectral filters, with the constructive principle of using materials used to speed up, improve, and perform. By means of repetition and excess, samples are made up until becoming beautifully alienated.
In this sonic intervention, the velocity and power of the Machine (metaphorically alluded by extrabrilliant high frequencies, high definition sound, heavy side chain compression) become replaced by the representation of the haste and overflow from the cultural field in which we are circumscribed.
For us, urban citizens, this field is characterized by political particularized prominence, media saturation, and the fallacy of a borderless world. The car as the extrapolation of the individual, and his equipped body, but also as a module in a series, is ‘customized’ via the juxtaposition of mechanical tools used to sonically catch your attention. This contradictory sonic essay lead the listener along a tragic meditation on beauty in alienation.
2 Rush 2 Breath is part of a larger project of highly compressed music production that Hector will later develop under the pseudo 13hdi
Louis Hector (*1995, Paris, France) Is a producer working across different genres, inspired by contradiction, awkward fiction and vague recollections. He is part of the master of critical studies at HEAD in Geneva.
Suisse: une phylogenèse 3 entretien enregistré à Bienne en septembre 2022 avec Roberto Biolzi animateur: Andrea Marioni
Le troisième volet de la saga de l'origine politique de la Suisse se penche sur un premier mythe fondateur et un premier héros «Arnold Winkelried» lors de la bataille de Sempach en 1386. La discussion s'étale sur l'organisation des armées et une progressive réputation des troupes engagées sous plusieurs drapeaux et unies par des pactes militaires. La naissance d'un système de mercenariat peut ainsi se développer et les autres nations commencent à parler du «peuple suisse» et de son armée.
Avec l’historien Roberto Biolzi spécialisé dans la guerre militaire au moyen âge, la série «Suisse : une phylogenèse» propose de revoir les moments emblématiques de l’histoire suisse et explore les mythes devenus réalités ainsi que les réalités devenues mythes.
Come together in a dream by Garancina, Music does the talking, co-production Lumpen Station 2022
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Come together in a dream is a tribute to bizarre parties, bizarre crowds, bizarre sounds and bizarre dreams. The sound piece is inspired by, and functions as an odd dj set composed of original tracks produced by the artist, that would follow you in your reveries, in your reminiscence of adventurous parties. It distills the weirdo essence of what is considered as an art form, thus coopted, and as a criminal nuisance, thus prohibited, and as a low culture token, thus neglected. It also seeks to challenge the power-force system, which excludes djing from « high culture », by mobilizing EDM sounds, and by stating: you can think while you party, danceable music is not devoid of critical thoughts.
Garance a.k.a. Garancina is a dj, producer, and millennial feminist with long nails, make up and pink as a favorite color. She is an activist since she became aware of her position in the world. Garancina has sold her soul to music and sounds. She is interested in power relations within art institutions, activist spaces and between academic and extra-academic knowledges. She want us to collectively organize a disruption of systems of dominations.
Written and produced by Garancina
Mastered by Aaron Méan
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Fantasmagor EP. 1 by Renato Grieco, artist in residence on Lumpen Station in 2022
Fantasmagór is a media-archeological speculation about a device capable of recording the imaginative and affective aural experience of the user. The whole story appears like a set of keynote speeches at a conference of psychiatrists reviewing various case studies related to the use of the device to observe aural activity during severe states of hallucination in patients with clinical disease or injury caused by toxic substances.
voices: Francisco Meirino, Duncan Harrison, Kate Donovan, Mark Harwood, Alexandra Spence.
La liste à Lulu by Marjorie Kapelusz, Lumpen connexions, soundwork, 2022 co-produced by Lumpen station
La liste à Lulu : Sonate pour une tronçonneuse est une visite d’atelier sonore. Lulu et sa tronçonneuse vous invite au cœur de ses rêveries et de ses dialogues internes. Les sons témoignent parfois d’un héritage culturel parfois des gestes qui s’activent dans l’atelier. Et d’ailleurs c’est quoi un atelier ? Vous reconnaitrez sûrement le son d’une machine à coudre, une rivière torrentielle et la poubelle à verre. Lulu partage avec Lumpen Station ses instants de grâce les plus grinçants. Cette proposition est un tissage sonore construit à la manière d’une réflexion non linéaire qui puise son inspiration autant dans la nature environnante que dans des archives personnelles.
La liste à Lulu : Sonate pour une tronçonneuse is a sound studio tour. Lulu and her chainsaw invites you into the heart of her daydreams and internal dialogues. The sounds sometimes testify to a cultural heritage, sometimes gestures that are activated in the studio. And besides, what is a studio? You will surely recognize the sound of a sewing machine, a torrential river and the glass bin. Lulu shares with Lumpen Station her cringest moments of grace. This proposal is a sound weaving constructed in the manner of a non-linear reflection that draws its inspiration as much from the surrounding nature as from personal archives.
Talking Gazes, 25.08.22
Live recorded in Tinguely Museum Basel in the exhibition BANG BANG : translocal hi:stories of performance art.
"Last but not least encounter with our Talking Gazes within Bang Bang translocal histories. For this ending episode we were live from Kasko art Space in Basel broadcasting with our caddy-Tinguely-studio. Monica German and Francesca Sproccati shared their impression of Freekly night program before to give the mike to some members of Bang Bang's curatorial team... "
participants: Monica German, Francesca SproccatiHost: Andrea MarioniTechnic and post-edits: Ivan Crichton Visual: Studio Vanieli
With the support of Ville de Bienne, Swisslos Kultur Kanton Bern, FSRC and SWISSPERFORM, Oertli Stiftung
Talking Gazes, 18.08.22
Live recorded in Tinguely Museum Basel in the exhibition BANG BANG : translocal hi:stories of performance art.
"In this talk our guest share their impression about performances seen the previous saturday and asked themselves about the theme frame, the artist propositions and their reception. Follow their Talking Gazes and have an hint about the performances presented in Tinguely Museum..."
participants: Hannah Beilarz, Sawi Laila, Ursula Scherrer Host: Andrea MarioniTechnic and post-edits: Ivan Crichton Visual: Studio Vanieli
With the support of Ville de Bienne, Swisslos Kultur Kanton Bern, FSRC and SWISSPERFORM, Oertli Stiftung
Talking Gazes, 07.07.22
Live recorded in Tinguely Museum Basel in the exhibition BANG BANG : translocal hi:stories of performance art.
"After a break of fw week, Bang Bang comes back in Tinguely museum by presenting a final blast of Sozial elegance, during all saturday, more than 80 performances animated the park in front of the museum. From an open call all the participants had the possibility to present their work to an organic audience, following the program by waving in the atmosphere. Our Taling Gazes give their impression of this peculair atmosphere"
participants: Selma Meuli, Martin Jakob, Nicolas RaufasteHost: Andrea MarioniTechnic and post-edits: Ivan Crichton Visual: Studio Vanieli
With the support of Ville de Bienne, Swisslos Kultur Kanton Bern, FSRC and SWISSPERFORM, Oertli Stiftung
Crossline I by Sara Lana, Lumpen station residents in 2022
Crosslines is a series of 3 sound pieces created from calls made to public telephones all over the world. Multiple calls made to recipients hitherto unknown or even non-existent. The phones were found using maps with panoramic views of public spaces. The number of each phone was retrieved by crossing its coordinates identified on the route with information collected in the database of phone directories (yellow pages) of each country. The first piece of this series was created calling to some Spanish speaking countries such as Cuba, Chile, Argentina, Paraguay, Uruguay, Ecuador, Mexico and Spain.
Sara Lana is a Brazilian artist and developer. She studied Mathematics and Electric Engineering. Her projects lie in the convergence of art and technology. She often uses multiple supports, especially sound, electronics and video, having illustration and cartography as important elements throughout her creative process.
Sara was awarded the Akademie Solitude 2024 fellowship and the Bolsa Pampulha fellowship (Pampulha Art Museum, Brazil), when she developed and exhibited her project ‘Species of Spaces’. She was also an artist-in-residence in several spaces dedicated to art, sound and technology in Br, Chile, Mx, Romania and Switzerland. Her project ‘Blind Spots’ was hosted by RedBullStation (2017, Brazil), MediaLabMX (2018, México), CCD – Center of Digital Culture (2019, México), among others. Her sound installation ‘Antonyms Machine’ was exhibited at Oi Futuro (2019, Rio de Janeiro) and Sesc (2018–2022, Minas Gerais and São Paulo states).
Her sound pieces were broadcasted in radios all over the world, such as Orelhinha (2021, Br), presented at ‘Seres Rios Festival’ – BDMG (2021, Brazil) and ‘Mutt Dogs’ (2017, Brazil, produced by Arte Radio) presented in avant-première at Centre Pompidou (2018, France) and nominated to Phonurgia Nova Awards (2018, France).
Suisse: une phylogenèse 2 entretien enregistré à Bienne en avril 2022 avec Roberto Biolzi animateur: Andrea Marioni
Après un premier épisode où nous avons vu comment une alliance militaire entre trois petites régions des Alpes s’est caractérisée par des succès militairse inattendus ; nous allons savoir comment la réputation des « Altstetten » a intéressé la ville de Berne qui les a appelés à son secours pour garantir son immédiateté impériale contre la ville de Fribourg. Avec l’historien Roberto Biolzi spécialisé dans la guerre militaire au moyen âge, la série « Suisse : une phylogenèse » propose de revoir les moments emblématiques de l’histoire suisse et explore les mythes devenus réalités ainsi que les réalités devenues mythes.
FEEDBACK SYMPHONY N°1.1 by Léon Jodry Soundwork co-produced by Lumpen Station and Léon Jodry for Lumpen Connexions room, July 2022
This sound piece consists in a non-stop-evolving drone produced by 12 diverse homemade feedback-devices (6 guitar amps with 6 guitar pickups hanged under 6 piano strings, 4 guitar amps and 2 PA with 6 piezo microphones glued on diverse resonant material) placed in a room and recorded by 6 microphones. No-one is playing any sound, the devices are self-sufficient to produce sound and each sound produced by a device will automatically affect the sounds made by the others, My job consisted in creating the devices and meditate in the middle of them with my recorder. In the end, a little post-treatment were applied.
LÉON JODRY is a musician, performer, and soundartist from La Chaux-de-Fonds - Switzerland. After a common debut of musical journey playing bass in punk-rock bands, he started a more radical approach of sounds and started to get completely away from concepts of tonalities and rhythmics, focussing on sound textures and emotions.
Encounter with Charlemagne Palestine interview hosted by Andrea Marioni recorded in théâtre de la Valère, Sion, 21.07.22 within the exhibition Beauty & Room curated by Balthazar Lovay sound extracts: Charlemagne Palestine, live in the église des Jésuites, Sion, 23.07.22 for PALP Festival
Charlemagne Palestine went through important decades of sound art avant-garde by collaborating with important figures such as Allan Kaprow, Tony Conrad, Morton Subotnick. Aside collaborations he created his own sound universe highly imprinted by notions such as sacred songs, performances arts or more precisely described by Charlemagne himself "Body sound". During the PALP festival he presented in le théâtre de la Valère, within the exhibition Beauty & Room curated by Bathalzar Lovay, a massive installation presenting a wide collection of divinities immerse in a sound work. On 23.07.22 a live sound performance has been presented to the audience at the église des Jésuites. The interview and the exchange hosted by Andrea Marioni wish to introduce this peculiar sound practice to everybody and dig developments in the career of Charlemagne Palestine.
Deep Listening, by Daniela Brugger
deep listening is an invitation to relax and focusses on notification sounds present in our everyday life. The electronic devices relate to us by saying hello, goodbye, well done, generally commenting, and observing the user. The machines seeking our attention, and communicating with us via sounds, while we receive messages, send Emails, or start a computer.
The piece is inspired by the process of "machine learning", the reality of "deep fake" and relates these topics with the experience of "deep listening". The term "deep listening" is known as a description for a meditative and concentrated form of listening whereas "deep learning" describes a multi layered learning system and the large amount of data used to create artificial intelligence. For the recording two improvisation artists were asked to individually mimic the complex notification sounds with their voice.
Selbstportrait in Musik #2 with Thibaud Gerber recorded in Atomic café, Biel/Bienne, 10.04.22
Selbstportrait in Musik est une série de diffusion radiophonique depuis l’Atomic Café à Bienne pour donner la voix ou plutôt les platines à des artistes de la région biennoise pour partager « le temps d’un apéro » un autoportrait en musique. Attention, les contenus sont hauts en interprétations cryptées sur la personnalité de nos invité·es ! Contenu musical
Talking Gazes, 07.07.22 Live recorded in Tinguely Museum Basel in the exhibition BANG BANG : translocal hi:stories of performance art.
"For this fourth Talking Gazes broadcast, our guest discussed about the performance programm of the 03.07.22 and the role of the exhibition Bang Bang in Tinguely Museum. It has also been the occasion to question politics in performance and how feminismus can find within performance a ground of development."
Participants: Chris Regn, Camille Regli, Marion RitzmannHost: Andrea MarioniTechnic and post-edits: Ivan Crichton Visual: Studio Vanieli
With the support of Ville de Bienne, Swisslos Kultur Kanton Bern, FSRC and SWISSPERFORM
Talking Gazes, 30.06.22 Live recorded in Tinguely Museum Basel in the exhibition BANG BANG : translocal hi:stories of performance art.
"For this first Talking Gazes broadcast, our guest had shared lived their impression about performance programm they follow saturday 25.06.22. In this talk show, the conversation turned around the questions of "extended queer" approach offered by each performance, the use of science in performance and how the audience receive a performance."
Participants: Monika Stalder, Mathilde Beetschen, Roland FischerHost: Andrea MarioniTechnic and post-edits: Ivan Crichton Visual: Studio Vanieli
With the support of Ville de Bienne, Swisslos Kultur Kanton Bern, FSRC and SWISSPERFORM
Suisse: une phylogenèse entretien enregistré à Bienne en avril 2022 avec Roberto Biolzi animateur: Andrea Marioni
Friederich Dürrenmatt aimait dire que la Suisse n’existe pas, pourtant elle est bien là, avec son drapeau carré, ses montres à coucou, son chocolat et ses commerces internationaux. La question serait plutôt de savoir si «les suisse·e·s existent» car ce petit pays au cœur de l’Europe est constitué d’un agrégat de populations qui s’est fait sur plusieurs siècles depuis une première alliance militaire en 1291. On peut se demander si la Suisse actuelle a sa propre phylogenèse, qui se serait développée entre terres rurales et zones urbaines.
Avec l’historien Roberto Biolzi, cette série d’entretiens sur Lumpen Station se penche sur l’histoire suisse en cherchant la réalité dans les mythes et les réalités devenu mythes, à travers une succession de batailles, alliances et mercenariat, nous allons revenir sur l’épopée d’un état, à partir de sources historiques et terrain de batailles, de manière à remettre un peu d’ordre dans l’utilisation politique de certains événements, que cela soit pour glorifier ou mépriser l’histoire suisse.
SESSION 6 : Aurélie Doutre Sujet : du cinéma visuel au cinéma sonore
La sixième session du CREPA a le plaisir d’accueillir la cinéaste plasticienne et chercheuse Aurélie Doutre, qui a également co-géré la programmation du cinéma genevois indépendant Le Spoutnik pendant 4 ans, et participe aussi à l’organisation de la DAF tivi, une télévision collective événementielle et éphémère.
Ces dernières années, en parallèle de son travail vidéo, Aurélie Doutre a développé Jean-Claude, une marque de cosmétiques fait maison de grande qualité. Mais une autre chose encore est venue s’immiscer dans son quotidien ces derniers temps : la recherche d’une rencontre entre sons concrets et ambiances imaginaires. Aurélie est donc arrivée dans la vallée de Joux avec un enregistreur, un micro, un petit synthé, une boîte à rythme et quelques pédales d’effets, et s’est lancée pour la première fois dans la réalisation d’une pièce sonore totalement in-situ. On vous propose aujourd’hui d’en écouter le résultat. S'ensuit un petit tour des réactions et réflexions amenées par le partage de cette toute nouvelle recherche. Bonne écoute !
Dolly and Raffaele by Geneviève Costello Soundworks produced for Lumpen Station Connexions, june 2022
Moving between languages and multi-generational Italian-American and American-French immigrant life, « Dolly and Raffaele » forms an aural diary - a temporal and spatial maze of communication, love, and inhabiting. Part testimony, poetic sequence, annotation, and sound effect, « Dolly and Raffaele » expands upon traditional voices of history and forms of sharing contemporary social life.
Credits : - « Dolly and Raffaele » by Geneviève Costello - mai 2022, 30:00 minutes, [field recordings, modular synthesizer and annotations of texts (in order of appearance) : - The Structure of World History : From Modes of Production to Modes of Exchange by Kojin Karatani (Duke University Press, 2014) ; - The Meaning of the Body : Aesthetics of Human Understanding by Mark Johnson (The University of Chicago Press, 2007) ; - White Girls by Hilton Als (Penguin Books, 2014) ; - Histoires d’amour by Julia Kristeva (Éditions Denoël, 1983) ; - The Savage Detectives by Roberto Bolaño (Picador, 2009) ; et - La Voie du Tarot, Alejandro Jodorowsky and Marianne Costa (Éditions Albin Michel, 2004)] - Co-production Lumpen Station and Geneviève Costello - Supported by : Ville de Bienne, Swisslos Kultur Kanton Bern
Bio : Genevieve Costello is an artist, cultural researcher, and PhD candidate in Media Arts at Royal Holloway, University of London. She works with sound, text, and performance. Much of her practice takes place in the format of documentation, the creation and collection of an archive. Globally, through texture and intimate exchanges with persons and environments, her work explores themes of care, vulnerability, and the nature of relationships. She lives in Limoges, France.
PORCINI, Castel d'Ardona soundwork produced for Lumpen Station connexions room, june 2022
W. Porcini consists in a sonic entity unfolding throughout bodies, artefacts, architectures and emotional implications. Together with sporadical allies, the novice, the factotum and the composer regularly meet in peculiar locations to set up ambiguous performances, for ambiguous, often more than human, audiences.
Embracing tragical optimism and ecstatic pessimism a weekly archive of live recordings is being created. For Lumpen Connexions Porcini produced a sound work compiling extracts recorded during a stormy voyage towards the mythological location of Castel d’Ardona.
Talking Gazes, 23.06.22 Live recorded in Tinguely Museum Basel in the exhibition BANG BANG : translocal hi:stories of performance art.
"For this first Talking Gazes broadcast, our guest had presented a personal feedback about the performances presented the 18.06.22 under the title: Emancipation from the medium. The discussion open up questions about presenting performance in Museum Tinguely, use of media and technology, the place of the body in a collective..."
Participants: Farah Mulla, Julien Berberat, Riccardo Lisi Host: Andrea MarioniTechnic and post-edits: Ivan Crichton Visual: Studio Vanieli
With the support of Ville de Bienne, Swisslos Kultur Kanton Bern, FSRC and SWISSPERFORM
Talking Gazes, 16.06.22 Live recorded in Tinguely Museum Basel in the exhibition BANG BANG : translocal hi:stories of performance art.
"For this first Talking Gazes broadcast, our guest had presented a personal feedback about the performances presented the 12.06.22 under the title SAGA. The discussion open up questions about archives, re-enactment, reception and performances presented in institutionals frames."
Participants: Birgit Widmer, Gabriel Magos, Virgine VabreHost: Andrea MarioniTechnic and post-edits: Ivan CrichtonVisual: Studio Vanieli
With the support of Ville de Bienne, Swisslos Kultur Kanton Bern, FSRC and SWISSPERFORM
SPORTSMANSHIP, Rati Eradze Co-production Lumpen Station and Rati Eradze
Rati Eradze lives and works in Georgia, his sound work experiments with diverse approaches of sound composing, with the aim to build a peculiar dramaturgy for the listeners. The receivers are invited to create free associations, connect with their inner memories and find a personal relation with the sound proposed by Rati Eradze.
SPORTSMANSHIP is defined by Rati Eradze as "a mix of my recent ambient works & half-baked ideas, made exclusively for Lumpen Station. Most of the music in the mix was programmed using physical modelling VSTs over the course of a few weeks, coming together as a melodic, 25 minute long cosmo-ambient piece."
SumVivus - Captured moments co-production Lumpen Station and Rashelle Reyneveld
SumVivus, a solo artist, creates ripples through vocal soundwaves looped to create a choral ensemble of one. An ephemeral improvised or predefined ethereal expression of the space and time that she inhabits. An ever evolving experience creating honest intimacy with the moment. She uses collected sounds, piano, bells, singing bowls, chimes and whatever sparks imagination.
Porno Circuit 03 Enregistré le 22.05.22 au Terrain Gurzelen, Biel Production Lumpen Station © Orchestration, production executive: Sara Strasser Texte et lecture: Delphine Ayrton Musiques: Hervé Thiot (Airbios), Marcelle Meylan (Marchy's Magic Bowls), Steve Lachat
Porno Circuit III boucle son exploration sur le vaste thème de la pornographie en vous proposant un voyage sous forme de conte porté par la voix de Delphine Ayrton, des vibrations de Marchy’s magic bowls, le tambour de Steve Lachat et des interventions sonores d’Airbios & Seedway. Ce troisième volet invite l’écouteur à mobiliser sa propre fantaisie pornographique à travers des expériences sensorielles auditives et vibratoires. Assis, debout, ou bien encore mieux, allongé... il s’agit de laisser éclore la pornographie qui sommeille en soi. Sans consommation, ici, il est question d’aller à la rencontre de ses propres images internes et de faire place aux sensations qui nous habitent en vue de se réapproprier sa propre pornographie et laisser œuvrer ses fantasmes. Comme lors des deux premiers volets, ce concept a comme seule prétention de sillonner diverses perspectives sur un sujet polymorphe, polémique, polysémique, subjectif, controversé et en constante mutation. Et non de le cerner.
Historique I et II volet :
Quel rapport entre la déchéance humaine, la consommation et le Porno ? Entre dégénérescence, possession, désir et le pouvoir, que devient le plaisir obscène de la chaire et sa fantaisie ? Sans débat, sans discussion, sans réponses, Porno Circuit entrecroise les regards pour pénétrer l’univers envoûtant, humide et profond du fantasme. Porno Circuit continue son immersion dans l’univers controversé/subversif, polymorphe et subjectif de la pornographie. Au programme de ce deuxième volet, une mise à jeu libre et ludique où s’entrecroisent différentes perspectives sur le sujet. Abominable, abusive pour certains, nécessaire pour d’autres, vulgaire, obscène et au même temps attractive et magnétique. Indécente jusqu’au fond, la pornographie dans le contexte du Porno Circuit reflète une volonté de liberté expressive permettant de sortir des convenances, d’élargir les formes, sans vouloir les cerner. Bien que cela soit aujourd’hui une thématique vulgarisée, populaire, qui pourrait en faire soupirer certains... ha, non, pff, pas encore de la pornographie, comme un plat réchauffé à toutes les sauces, elle n’en reste pas moins présente, vivante et indiscernable.
Porno Circuit s’intéresse à la pornographie au sens large du terme. C’est avec une philosophie d’observateur du phénomène et de son mode d’existence multiple qu’elle est abordée sans jugement de valeur. La pornographie devient pour le Porno Circuit, un véhicule d’exploration et d’expression libre. Un peu comme un espace laboratoire de création. La pornographie évolue ici en un modèle de curiosité et d’expression de changements sociétal où les mots clés sont la démesure, l’obscénité, la grossièreté ainsi que la consommation qui exploite nos instincts sexuels. C’est évident que chacun à sa propre représentation ou bien références à la pornographie. Pour illustrer ce propos, un texte de Gilles Lapouge, qu’on retrouve sur le web site d’universalis.fr : « C'est une entreprise infinie que de définir la pornographie et de marquer ses différences et ses similitudes avec son distingué voisin, l'érotisme. Beaucoup s'y sont appliqués et l'exercice est devenu académique. C'est que ces deux notions sont à la fois enchevêtrées et remuantes. Elles bougent à mesure que passent les siècles et, parfois, elles échangent leurs places. Dix ans ou cent ans ont suffi pour que Flaubert, Miller, Pauline Réage ou Emmanuelle Arsan cessent d'être obscènes ou pornographiques pour gagner d'autres labels : classiques ou érotiques. L'érotisme est souvent la pornographie de la veille. D'une culture à une autre, de même, les frontières de la pornographie sont variables. Les Suédois ont longtemps tout regardé sans honte ni surprise quand certains pays musulmans ou socialistes détestent le plus timide des strip-teases. (Je tiens à ouvrir une parenthèse et préciser, qu’on parle ici des années 60 à 80, et qu’aujourd’hui les lois se sont durcies à ce sujet en suède). Enfin, la pornographie est taillée sur mesure pour chaque individu. Chacun sécrète sa propre pornographie. Ce qui choque l'un réjouit son voisin ou le laisse de marbre. Comment, dans ces conditions, avancer une définition stable et universelle de la pornographie ? En vérité, ce terme est étrange en ce qu'il semble privé de contenu et de contour en même temps. C'est un sac vide dans lequel chacun entasse ce qu'il veut – parfois son rêve et parfois son dégoût –, compte tenu de sa culture, de sa classe sociale, de l'éducation qu'il a subie, de ses fantasmes. Lewis Carroll a inventé le mot valise. Le mot « pornographie » pourrait passer pour un « mot poubelle » chargé de recueillir tout ce que, de l'érotisme, de la sexualité ou de la volupté, on refuse ou convoite. Robbe-Grillet résume cela par sa formule : « La pornographie, c'est l'érotisme des autres. » Et l'on pourrait ajouter cette nuance : « Dis-moi ce que tu tiens pour pornographique et je te dirai qui tu es. » Fin de citation.
Porno Circuit s’intéresse à la diversité de perceptions, de relations au sujet et à la forme évolutive, qui mute au rythme de la société. Hybride, elle se mélange à d’autres corps pour continuer à exercer son pouvoir de dopamine. Dans le cadre du premier volet, le format sonore s’est inscrit dans une volonté de ne pas débattre, de ne pas chercher de réponses. Bien au contraire, de lui donner de l’espace, de la flexibilité, un peu de liberté, de sensualité et du mystère à travers le SON. Et aussi, c’était une invitation à l’auditeur de mobiliser ses propres images internes.
Aujourd’hui, ce volume 2, fait un pas en avant en explorant la Pornographie comme étant un phénomène vivant, du vivant et vise à élargir le sujet sans prétendre le cerner. C’est avec un esprit ludique et parés d’une âme d’explorateurs que les participants vont vous partager leurs jeux immersifs sur le sujet. Porno Circuit garde son désir de solliciter votre curiosité et votre ouverture d’esprit en entrecroisant divers paradigmes.
La Pornographie recèle suffisamment d’ingrédients pour générer la mise en mouvement de nos imaginaires entre autres. Polysémique, polymorphe, subjective, mutante, sujet, objet, grossière, obscène, elle génère par son indécence une attirance ou et un rejet. Abominable pour certains, nécessaire pour d’autres, vulgaire et au même temps attractive et magnétique, indécente, elle permet de sortir des convenances, d’élargir les formes, de les ultra dépasser. Et ça, c’est bon.
NY, Downtown '81: a conversation with Edo Bertoglio
Lumpen Universität - We Talk About Art Interview recorded by Andrea Marioni 26.04.22 in Lugano
This conversation comes back on Edo Bertoglio's career, starting from the provinciality of Lugano (CH) to New York in the late '70 to end of '80. As a young photographer, Bertoglio enters in Interview Magazine edited by Warhol and in parallel he participates on the emergence of "Downtown scene" composed at that time by unknow enthousiastic artist like Jean-Michel Basquiat, Debbie Harris, Madonna, Glenn O'brien, Klaus Nomi and many others. During the turn over between 1977-1980, the general atmosphere is party like, spontaneous, everything seems possible and for some of them the early '80 will be a important switch for their status. While some became legends, others disappear progressively, AIDS started as much as drug addictions and it's the end of the party.
Edo Bertoglio was involved in this era, he contributed to make precious pictures of that time, especially with the movie "Downtown '81" having as main character an unknow young street artist: Jean-Michel Basquiat.
Biography of Edo Bertoglio:
Edo Bertoglio (Lugano, 1951) is a Swiss photographer and film director, become a naturalized citizen of Italy. After graduating in direction and editing at the “Conservatoire Libre du Cinéma Français” (Paris 1975), he moved to London and to New York in 1976, where he lived for fourteen years. He worked as a photographer for many Americans, Japanese, French and Italian magazines, specialized in fashion, art and costume. He regularly collaborated with the “Andy Warhol’s Interview” magazine from 1978 to 1982.
In 1981 he directed “Downtown 81”. The movie shows a typical day of the young artist Jean- Michel Basquiat, at the time unknown, and gives a view of the active artistic community of New York. Finished in 1999 after some vicissitudes, it was chosen at the Cannes Festival in 2000 in the section “Quinzaine des Realisateurs”.
In 2005 he completed his second movie, “Face Addict” successfully presented at the 58° International Movie Festival of Locarno. It’s about the story of the artistic community of New York in the late seventies – early eighties, known as “Downtown Scene”, a journey into the discovery of New York 20 years later - through the protagonists of the musical and visual arts’ scene. He’s currently producing and directing TV and cinema’s documentaries, as well as photographic projects.
ACT on Lumpen Station 03, broadcasted at DISPO, Biel
Last but not least, the third radio talk show from our camping studio open the discussion with Davide-Chistelle Sanvee and Sunarjo about ACT Performance Festival, pedagogy, students works and how to grow within performance field.
ACT on Lumpen Station 02, recorded at DISPO, Biel
For the second radio broadcast during ACT Performance Festival, Lumpen Station team welcomed Marion Ritzmann and Linda Neukirchen to speak about performance, impressions about swiss networks, practices and personal performances histories.
06.05.2022 ACT on Lumpen Station, live recorded at DISPO, Biel
For this first radio talk show broadcasted from our camping-studio at DISPO in Biel with our guest Darren Roshier and Anne Rochat we broke the ice, discussed about performance practices, pedagogy, low references and the art of quoting big philosophers.
Contents in FR
Selbspotrait in Musik: Elias Raschle
Format radiophique proposé par Lumpen Station en collaboration avec Atomic café à Bienne.
Des acteurs et actrices de la scène culturelle Biennoise sont invitées à partager le temps d'un apéro un autoportrait en musique. Les track list sont ainsi une manière de rentrer dans l'esprit des invitées, deviner des état d'âmes, peut-être des secrets ou des confessions intimes. Lecture crypté hautement conseillée!
lumpen station co-production © with the support of : Ville de Bienne, kanton Berne
Terra incognita: art-science fabulations, "les artistes dialoguent avec la science", entretien avec Marc Atallah, directeur de la Maison d’Ailleurs et du Numerik Games Festival et MER en Section de français à l’Universite de Lausanne.
Cette discussion a permis de poser un historique autour de la créations lié à la science-fiction et d'aborder les thèmes récurrents à l'intérieur de plusieurs récits. Les visions articulées dans ces production littérataire souvent en utilisant l'exagération, permettent de réfléchir à nos modes de vies, constuire un regard extérieur à la fois sur nos société et à la fois dans notre intimité.
Terra Incognita, art-science fabulations Manufactured Paradises, radio fiction performed by Hardwean
Dans un futur très proches des journaux intimes sonores nous permettent de comprendre l'état du monde, la vie au quotidien de certains personnages remplis de nostalgie et de lucidité. Un souvenir heureux ressurgit, une instagrammeuse et ses émissions d'influences sont les résidus des jours heureux.
Lumpen Station co-production © with the support of : Ville de Bienne, Abteilung Kultur Basel-Stadt, Swisslos Kultur Kanton Bern, ProLitteris and FSRC/SRKS
Terra incognita, art-science fabulations, performance captation Eggs and boobs, performance by Maya Minder and Alexia Venot, with the participation of Emanuele Coccia and Lisa Jankovics, sounds by Kyoka
The performance takes the form of a perfor- mative and participative dinner, where Maya Minder and Alexia Venot intervene, through their actions and the reading of texts, Ema- nuele Coccia as one of the characters of the fiction introduced during the perfomance ( Queen Egg ), sound artist Kyoka plays field recordings regarding the atmosphere of each chapter of the dinner ingredient. play a track at each stage of the dinner, according to each ingredient. A fiction is introduced into the performance to make the reflection tangible. In Eggies Island, the audience is led to be im- mersed in the role of Bowies, characters of the story, who come to enjoy a meal on the island. A series of different dishes and orders are brought to the audience, metaphorical ingredients of our sensual, regressive, erotic and fluid connextions : eggs, milk, eggplant, fig, rice, seaweed.
In its symbolic report, the food is jointly relayed to a nutritive act as to an erotic act, it generates semiotic confusions. The poetic language give access to a certain emancipation of the subjects with regard to the objects of desire and It acts like an emancipative agent to rethink the gendered realtions. The dinner acts in a subversive way of reappropriation of gestures, and generate a multiplicity of interactions towards the relation with the living. Body and food converge: eating and tasting call for one of the forms of sensuality, which can go as far as eroticism. The language is struc- tured around common vocabulary, "hot" "swallow" "cook" "lick" refers as much to the act of eating as to the sexual act. As Yvonne Verdier wrote, ethnologists have found a strong food symbolism in rituals whose function, in the final analysis, is to "regulate relations between genders". There is a certain ambiguity in the body or in what comes from the body. The egg is the birth in potential, comes out of the cloaca of a bird and its shape can help provoke female orgasms. One finds this refe- rence in the empire of senses : as if an interspecific orgasm was already made possible by the form of the objects which connect the beings in them. The breast is eroticized and sexualized while it is also an organ to produce milk, food for the baby, causing some pain to the woman when extracting the liquid. The fig is also a vagina, its fertilization is interspecific, because to be fertilized it requires eggs of the wasp, which imprisoned ends up dying, this reproduction induces an interdependence but also the death of the insect, when we eat a fig, we also eat the insect. The flowers offer themselves as much to the bumblebees, fertilized by the pollen. Birth, death, pleasure, pain, coexist in ambiguous forms where food is a metaphor, an object of desire, an organ of reproduction and a ressource.
We eat and we are eaten. How to approach this ambiguous relationship of bodies to reinvent the new semantics of sensuality with food ?
lumpen station co-production © with the support of : Ville de Bienne, kanton Berne, FSRC, Stadt Basel, Pro Litteris
Talking to myself, Anina Müller Co-production Lumpen Station and Anina Müller
This audio piece focuses all things fame and celebrities. Are celebrities even real and how do I become one ? If no one ever makes it, then how come there are so many of them ? What is a parasocial relationship and how do I get one ? With special guests me, myself and I, we will delve into our juiciest celeb crushes and dish all the dirty drama about how we got our hearts broken by people who don’t even know we exist.
"AEIOU" Rati Baramadze Co-production Lumpen Station and Rati Baramadze
The whole piece is inspired by book "New Atlantis" by Francis Bacon. In this book Francis describes electronic music instruments that at the time were just a fantasy field, but today are reality for us. This work is a kind of continuation of the utopian world that Francis described, a future where man is in symbiosis with technology. Musical instruments are not external devices but are integrated with the human body, allowing them to transform speech into different sounds and music. No electronic music instruments were used to create this work, only man-made sound and speech (Georgian) processing.
Meet the residents : Wassili Widmer Echo chamber 1 Supported by: Ville de Bienne, Swisslos Kultur Kanton Bern co-production: Lumpen Station, Wassili Widmer
Presentation:
In this radio art work, artist Wassili Widmer will deconstruct the phenomenon of the echo chamber. The work explores the themes of voice in the acoustic and political sense, narratives, the myth of Ekho, reverberation as a sound technique and the political phenomenon of echo chamber. To be heard is a mixture of conversation with theme-relevant guests, experimental sound art, music and poetic pieces with inner monologues.
The first part broadcasting in March explores the topic of voice and narration with the guests Dina Hungerbühler and Sophie Diggelmann. Dina Hungerbühler works at SRF as independent journalist and production assistant and has an MA in law and political science. Sophie Diggelmann studied visual arts at ZHdK and is singer songwriter of the band Velvet Two stripes.
ALLA MATTINA APPENA ALZATA #4 a sound exhibition with Lara Dâmaso curated by Giada Olivotto & Camilla Paolino
with the support of ProHelvetia, FSRC, Swissperform, ProLitteris, and Magica Opalini
The fourth sound exhibition of the column Alla mattina appena alzata (in the morning, freshly awoke) comes as a continuation of a trajectory started two years ago (oh yes, already!). It fits indeed into the conceptual framework set by the Italian popular song Bella ciao, as it was sung by the Italian rice workers (mondine) in protest against the exploitation of their workforce. This song has become an emblem of resistance in liberation struggles all over the world, at different moments in history, and still gives the rhythm to the sonic reflections of the artists invited.
CANOVACCIO #4
(TRANSCRIPTION & ENGLISH TRANSLATION)
GO: Dear listeners, welcome back to CANALE MILVA: the web radio channel that from summer 2020 explores the practice of exhibition-making through sound. The starting point of our curatorial projects is always a “chicca” (or, goodies) of Italian song selected for you by Giada Olivotto and Camilla Paolino. Episode after episode and column after a column, these songs are re-interpreted by visual artists invited to participate in a shared reflection by sonic means. Today, we are broadcasting this new episode of our column Alla Mattina appena alzata featuring artist Lara Dâmaso. Dear listeners, welcome to CANALE MILVA on air from Rome and Geneva!
CP: Today, on CANALE MILVA, we present a special episode for which we have invited artist Lara Dâmaso to produce a sound piece that integrates the column Alla mattina appena alzata in a rather peculiar way. In fact, Lara’s work declines the Bella Ciao sung by the Piedmontese rice-workers - and then reinterpreted in 1971 by Milva on Canzonissima - not so much in the terms of a protest song dedicated to women’s work in the rice fields as it is, but rather focusing on the moment of awakening evoked by the very first verse of the song - which gives the title to the column itself. In continuity with the contributions of artists such as Vera di Maus or Nicole Colombo, whom we have had the pleasure of listening to on CANALE MILVA in the past, the piece develops like a sonic collage composed on the edge of the unconscious, where the artist’s voice weaves together fragments of songs that speak of dreams and stories of her own dreams recorded just after waking up.
GO: As mentioned by Camilla, today we are listening together to the sound piece “Some of my dreams, songs titled dream” by Lara Dâmaso. The plot elaborated by the artist gives us the opportunity to peek at her artistic practice, mainly focusing on performance, dance, and the expressive and political potential of the body. A potential that is often declined through the underestimated power of the voice. The rhythm of “Some of my dreams, songs titled dream” is that of a cross-stitch from which embroideries of whispered voices open up. Hypnotic and murmured, this sound piece by Lara Dâmaso transports us into an intimate world where statements, dreams, recordings of songs, and conversations appear. It reminds us of a diaristic form, as if the artist has decided to share with us her sound diary. A bit like the one we find in that outdated TV show - from the 90s - called “Felicity”, where the protagonist of the same name dedicates part of her day to her tape-recorder, noting on tape, day after day, her experiences. From track to track, we leave you now to the sounds, noises, and notes by Lara Dâmaso. Enjoy your listening!
[sound piece] “Some of my dreams, songs titled dream" by Lara Dâmaso
GO: We would like to thank Lara Dâmaso for taking part to our new episode of Alla mattina appena alzata and for sharing her work with us. As always, we would like to thank Lumpen Station for their hospitality and collaboration, as well as the Magica Opalini association, Pro Helvetia, Pro Litteris, FSRC, and SwissPerform for their support of our sound space.
CP: For more information about some of my dreams, songs titled dream, the work of Lara Dâmaso that we listened to today, and for references and various materials, please visit lumpenstation.art: CANALE MILVA. Thanks to all of you for following us, we look forward to the next episode!
Artists’ biography:
Lara Dâmaso (b.1996) is an artist and performer living in Zurich. Lara's central medium is the body. She explores the expressive, therapeutic and political potential of the voice. More than an enunciation tool of the intellect, its setting in motion is closely linked to that of the body; it establishes a vibratory link that is more a matter of sensitive experience than of reason. In doing so, the artist bypasses the structures of power embodied in the disciplined use of the voice. Her work exists in the form of live performances, videos, or audio works.
Her work has been presented in various institutions, off-spaces and festivals, including les Urbaines, Masi Lugano, Zürich Moves, Kunsthaus Langenthal, Istituto Svizzero, Centre d'Art Contemporain Genève, Kunsthalle Zürich, Theater Neumarkt, Cabaret Voltaire, Plymouth Rock, Kunsthalle Bern, Centre Pasqu'Art. In 2020 she was nominated for the Kiefer-Hablitzel Göhner Art Prize and is nominated for Plattform21 and the Swiss Performance Award 2021. As a performer she has worked with and for Monster Chetwynd, Jade Kuriki Olivo (Puppies Puppies), Tarren Johnson, Isabel Lewis, Nile Koetting, Nikima Jagudajev, Dora Garcia, Cally Spooner/Offshore, Debora Delmar corp. and Alicia Frankovich. Lara is associated artist at Theater Gessnerallee in Zurich.
Terra Incognita : art-science fabulations Sound exhibition presented in art space Praxis in relation with visual art works and tatoo flashes. The presentation text is describing the complete exhibition with this 3 parts. A printed catalogue including visual archives is available on demands by writing to: lumpenstation@gmail.com
Participating artists : Felix Stöckle, Thalles Piaget, Nicolas Polli, Eve Chariatte, louis hector, Till Langschied, Colin Rayanl, Premjish Achari, Rodrigo Toro Madrid, Monika Stalder, Sara Koller, Andrea Marioni.
I was in Arnaud Verin’s garden last summer. A kind of wild garden, between human organization and vegetal anarchism. There were a few sculptures here and there, mostly ceramics, but also mixed materials, supermarket plastic sunglasses, cheap Greek statues, Arnaud’s crafts and other kinds of combinations. Some of the artifacts were already colonized by insects, others hosted plants, seeds, birds… I immediately told my friend : “That’s the way an exhibition should be considered.” and that’s the way Terra Incognita : art-science fabulations has been thought of, involving more than thirty artists using several art practices.
There is no romanticism in choosing a garden as a starting point. Forget lost Eden. There is a hidden lesson in that small parcel of earth, the call to “learn from the garden”. To view the garden as a reference system. Other gardens in the area followed the French style. Then, not far away, there was some wasteland around the roads and less than a kilometer further wild nature along the river.
Make a quantum leap and all those different gardens could mirror art institutions, off-spaces, and galleries, and could function as templates of our world operating with their respective management systems in order to care about the life they are hosting.
Make another quantum leap, and you’ll notice that gardens aren’t created collectively, but by a particular accumulation of singular life forms, potential shelters, rocks, bacteria, mushrooms, temperatures, Arnaud’s junk… All of these elements are linked by a peculiar balance and diversity of relations forming a biotope.
Now, how does science enter the game ? Well, because this art-biotope in practice is constituted by artists, self-conscious critters, who aim to offer a comprehension of the world around us, like scientists do. In the following years, according to the last GIEC report, we will be entering an unknown period concerning our relation to earth, a terra incognita. To live through this fact, rationalism isn’t enough. It is necessary to add some tales, or as the philosopher G. Bachelard suggested : surrationalism. For it seems that science and art are mechanisms that are difficult to combine. Even if quantum and Newtonian mechanics are both valid and useful in order to apprehend some life phenomena, they are still impossible to reunite, despite the efforts.
It is common for artists to utilize science or for science to utilize artists. But how could an art-science work ? How can an artistic process be a contributive tool with its own mechanisms as peers are dealing with contemporary scientific challenges ?
It is yet hard to say, but we certainly know that fabulation is a method used on both sides.
So, I guess, like with gardening : before harvesting, it is necessary to focus on morphogenesis and the conditions that would allow for life to grow. In other words, to care about the ground, the humus, consider art as compost, the first stage of a biotope, when fabulation and reality meet, the stage in which all works of this exhibition come together.
Supported by : Ville de Bienne, Abteilung Kultur Basel-Stadt, Swisslos Kultur Kanton Bern, ProLitteris and FSRC/SRKS
CREPA session 5 : Monika Stalder et Olga Kokcharova Sujet : champignons, amanite, autorité, radical mycology
Cinquième session : Le CREPA est aujourd’hui ravi d’accueillir les artistes Monika Stalder et Olga Kokcharova. Monika Stalder est artiste plasticienne, elle oeuvre en peinture, en installation, en performance et fait des allers retours entre le macro et microscopique, entre la voie lactée, les lunes et les cellules.
Lors de ces quelques jours en vallée de Joux, elle nous a partagé une manière d’écouter les objets du quotidien sous forme de petites performances sonores - inaudibles pour celles et ceux dont les os ne sont pas en contact direct avec les instruments, mais fortes en sensations lorsque vient le tour de s’y plonger.
Olga Kokcharova est quant à elle artiste sonore et passionnée de plantes, de lichens et de champignons. Ensemble nous sommes allées à leur rencontre dans la forêt du Risoux, le nez dans la mousse et les yeux aiguisés à la découverte de ces êtres étranges et fascinants.
Lors de ces balades, nous avons ainsi prélevé quelques spécimens à observer et sentir tout en partageant la discussion suivante. Bonne écoute !
Liens : Radical Mycology https://www.radicalmycology.com/ Peter McCoy https://www.utopiana.art/fr/peter-mccoy Jacques Falquet https://www.utopiana.art/en/jacques-falquet The Mushroom Speaks, documentaire de Marion Neumann https://www.visionsdureel.ch/photo-video/2021/the-mushroom-speaks-marion-neumann-3/ Olga Kokcharova http://kokcharova.zov308.org/ Monika Stalder http://www.monikastalder.ch/
Minor histories : Bienne, EP:2 espace libre Visarte Biel/Bienne avec Verena Lafargue
On se souvient à peine de sa création, il est là depuis vingt ans, à l’ombre de son grand voisin le centre Pasquart, il a l’air d’une cave, mais certains l’aime ainsi, fragile, indépendant, une arrière chambre de possibles, qui change régulièrement de tête, qui accueille des rencontres esthétiques variées, il n’a pas besoin de gardiennage, on se demande si c’est pas l’espace en lui-même à être en charge de la curation, les curateur et curatrices, les artistes, le public, l’anime et le font vivre et probablement cela sera ainsi encore longtemps, c’est espace libre visarte Biel/Bienne.
Une conversation avec : Amandine Gay Enregistré à Bienne le 04.02.22 Entretien entre Doris Niragire Nirere et Amandine Gay Coordination Cabbak : Nadine Ndjoko Peisker Lumpen Station team : Mathilde Beetschen, Ivan Crichton, Andrea Marioni.
Le collectif Afrofréministe Biennois CABBAK propose une conversation avec Amandine Gay, Réalisatrice, Autrice et Militante Afro-féministe autour de son travail et à l'occasion de la projection de son dernier documentaire , "Une histoire à soi" qui aborde à la fois l'intimité de l'adoption internationale et sa dimension politique. Ici on parle d'art et de politique dans tous leurs enchevêtrements
SESSION 4 : Biblioteq Mdulair Sujet : Electronique de puissance, générateurs de fonction
Quatrième session. Aujourd’hui, le CREPA accueille la Biblioteq Mdulair, un duo d’artistes sonores qui transportent dans leurs caisses Rako un orchestre composé d’une quinzaine de générateurs de fonctions. Cette installation aux allures de navette spatiale utilise des instruments du siècle dernier, faciles à ouvrir et à observer de l’intérieur. Cette session de partage a ainsi combiné un atelier d’électronique comme tentative de réparation des machines et un concert intimiste improvisé que vous entendrez juste après une courte présentation de cet instrument composé d’objets dits “obsolètes”. Bonne écoute !
Liens : Biblioteq Mdulair, site internet https://biblioteqmdulair.wordpress.com/ Biblioteq Mdulair, vinyle https://copypastaeditions.bandcamp.com/album/primitive-electronics-brain-dance Synkie http://synkie.net/
minor histories - Bienne: ne pas demander la permission. Saison 1, épisode 1 avec Chri Frautschi présentant Lokal-int; Rue Hans-Hugi 1, 2502 Bienne
minor histories, histoires mineures. On se promène dans la ville et on aperçoit parfois une vitrine avec des choses bizarres à l’intérieur, on voit des flyers, des posters qui nous invitent à des vernissages dans des lieux toujours en mouvement, ce sont des espaces d’art qui accueillent qui le veut bien, programment des artistes qu’on connait, un peu, peut-être, de loin ou de près, ou tout simplement que l’on découvre. Ce sont des espaces d’exposition qui se revendiquent ou sont définis OFF, ils existent parfois pendant quelques semaines tandis que certains animent une scène locale des décennies durant. Leurs structures financières est pratiquement toujours fragile, des curatrices, des curateurs, des artistes les font vivre et offrent la plus part du temps une expérience artistique qui dépasse l’esthétique. Ce sont les lieux où l’histoire de l’art converge avec des formes de vies, des lieux considérés mineurs dans la grande histoire et pourtant, c’est grâce à leur existence que des nouvelles formes d’art ont la possibilité d’émerger.
Bienvenue dans la série « minor histories », une histoire de l’art inattendue et qui dépasse les catégories de classification.
ALLA MATTINA APPENA ALZATA #3 a sound exhibition with Camille Dumond, Dorota Gawęda + Eglė Kulbokaitė, Caroline Schattling Villeval andAlice Visentin curated by Giada Olivotto & Camilla Paolino with the support of ProHelvetia, FSRC, ProLitteris and Magica Opalini
The third sound exhibition of the column Alla mattina appena alzata (in the morning, freshly awoke) comes as a continuation of a trajectory started in August 2020. It fits indeed into the conceptual framework set by the Italian popular song Bella ciao, as it was sung by the Italian rice workers (mondine) in protest against the exploitation of their workforce. This song has become an emblem of resistance in liberation struggles all over the world, at different moments in history, and still gives the rhythm to the sonic reflections of the artists invited.
CANOVACCIO #3 (TRANSCRIPTION & ENGLISH TRANSLATION)
GO: Welcome, dear listeners, to this new broadcast on CANALE MILVA: a channel aimed at exploring the format of the sound exhibition by taking some gems of Italian music as starting points. Each song is chosen for you by Giada Olivotto and Camilla Paolino and explored together with visual artists invited to participate with a sound piece produced for the occasion. CP: This morning, we are happy to wish you a good awakening with the third sound exhibition of the column Alla mattina appena alzata, which, as you know by now, is dedicated to the version of the Italian song Bella Ciao sung by Milva for CANZONISSIMA in 1971. That is, the Bella Ciao sung by the Italian rice-workers who were employed in the rice fields of Piemonte and used to sing together, while working, in sign of protest against the exploitation of their labor force by their masters. The exhibition includes new sound productions by the Italian artist Alice Visentin, the French artist Camille Dumond, the Swiss artist Caroline Scattling Villeval and the duo of Swiss-based artists Dorota Gawęda and Eglė Kulbokaitė. These new productions broaden the horizon outlined by the works proposed by the artists Lula Broglio, Joo Young Hwang, Rada Kozelj and Claire van Lubeek (in collaboration with Crowdpleaser), as well as by the works of Nicole Colombo, Lisa Lurati, Noemi Pfister, Sara Ravelli and Vera di Maus, who participated respectively in the first and second exhibition of the column and whom we warmly greet. GO: As with our previous sound exhibitions of the column Alla mattina appena alzata - whose participants have just been mentioned by Camilla - it will be Milva’s Bella Ciao that, once again, will serve as the starting point, or curatorial framework, for this new episode of the column. We would like to remind you that this sound exhibition is produced by CANALE MILVA for Lumpen Station. We leave you now to the sounds, noises and words composed for us by Alice Visentin, Camille Dumond, Caroline Scattling Villeval and the duo Dorota Gawęda and Eglė Kulbokaitė. Enjoy your listening!
Camille Dumond, Facing North (Sueded), 5m22s, 2021 Let’s start our sound journey with Camille Dumond, a French artist based in Geneva who has composed the sound piece Facing North (Sueded) for this exhibition. In this piece, Camille Dumond uses a synthesizer to retrace the score sung in Hocket: a mesh of notes performed in 1991 by Meredith Monk and Robert Een at St. Mark’s Church in New York’s East Village. As part of the 1992 album Facing North, Hocket - as well as other pieces by the aforementioned American composer, director, singer and choreographer Meredith Monk - is a piece that explores wide vocal vistas, while emphasizing the contrast of its minimal musical textures. The a cappella piece becomes the plot of an adventure at dawn, synthesized by Camille Dumond, who explores the compositional landscapes of Monk’s original score freely inspired by the sounds of the Canadian countryside during the winter months. This is the glacial and generous context that recalls the notes sung by one performer to the other, building the final landscape of the melody through this mouth to mouth exchange. Flattened and immersed in a vague quagmire at first, from which a robotic voice then hovers, Camille Dumond’s Facing North (Sueded) allegorically reflects on the use of the figure of the explorer and weaver of musical landscapes within Monk’s work sound practice. Enjoy your listening!
Alice Visentin, Montagna Canta, 10m24s, 2020-2021 We have just listened to Facing North (Sueded) by Camille Dumond, whom we thank again for having taken us with her on this sonic journey through the Canadian steppe, full of synthesizer-based synaesthetic visions. Let’s continue our path in a much more analogue - or should I even say organic - way, venturing into the mountains of Piemonte guided by the a cappella songs of Montagna Canta, the sound piece realized for us by Alice Visentin, in collaboration with the Piedmontese singer Amerigo Vigliermo, the singer Norma B. and the choir of which they are part. At the basis of this production is Alice's research on the oral transmission of traditional Piedmontese songs, which, as Amerigo tells us, seems to be driven by the desire to enhance the legacy of mothers, aunts, grandmothers and other key female figures in their communities, who used to work a lot, recognized little or nothing, and did it while singing. Norma B.'s voice, supported by the vocals of her fellow choir members, closes the piece with the song Casina Sola: something that moved us and made our skin crawl for how poignant and beautiful it is.
Caroline Schattling Villeval, No kids, more coke!, 4m37s, 2021 Thanks to Alice Visentin, with Amerigo Vigliermo, Norma B. and all the voices of the choir for Montagna Canta, which we have just listened to. We would like to point out that the composition of Montagna Canta was made possible thanks to the Centro Etnologico Canavesano based in Via dei Ribelli in Bajo Dora, in the province of Turin, which we wish to thank. We now continue our listening with a song written and performed by Caroline Schattling Villeval, with the talking name No kids, more coke! (which has nothing to do with the most famous industrial carbonated soft drink in the world…). Caroline writes this song taking as a starting point her own experience of pregnancy, lived in close contact with social networks and with a number of applications designed specifically to accompany women during pregnancy. By providing biometric data and personal information in exchange for ad hoc advice and the ability to follow the development of the fetus through your smartphone (or rather, a digital projection of it), the body is put to work twice: as an increasingly calibrated and controlled hybrid means of re-production, where flesh and technology merge, and as a mine or inexhaustible source of information, data and knowledge. Here’s to you, No kids, more coke!
Dorota Gawęda and Eglė Kulbokaitė, SULK (Hamburg), 2021, 30m00s, 2021 Thanks to Caroline Schattling Villeval for sharing with us her reflections on the experience of pregnancy through the eye and ear of social networks and apps. So we come to the last sound piece in our sound exhibition today, which was produced by the artistic duo Dorota Gawęda and Eglė Kulbokaitė. Gawęda and Kulbokaitė sonically stage a part of SULK, a performance series of the same name, about the representation of the notion of “embodied text”: SULK (Hamburg). The piece is about the collapsing moment in which the relationship between reading and performance, in both physical and digital spaces, brings texts and their readers together. Drawing from a variety of authors, including Butler, Ahmed, Eliot, Morton, and Tokarczuk, the artists set to work constructing scripts for their performer-readers, with the intention of collapsing these textual fragments into a plural voice. The multiplicity expressed through SULK (Hamburg) projects us to several elements that reference its previous staging - and, notably, this sound piece was recorded during the performance SULK 6 at the Kunstverein Hamburg as recently as November 2021, produced in collaboration with dj dodomundo and performers Karim Boumjimar, Justyna Chaberek, and Philipp Reinhardt. Enjoy!
CP: And with the sound piece by Dorota Gaweda and Egle Kulbokaite, whom we warmly thank for their participation, we conclude the third sound show of the column Alla mattina appena alzata, broadcasted on Canale Milva. Many thanks also to all the faithful listeners who have been following us since summer 2020. GO: We would like to thank once again Lumpen Station for their hospitality and Pro Helvetia, Pro Litteris and the Swiss Foundation for Radio and Culture (FSRC), as well as the emerging Locarno association Magica Opalini for supporting our sound project. As always we thank you for following us and we'll be in touch soon with the next episode of CANALE MILVA which will be entirely dedicated to the artist Lara Damaso.
Artists’ biographies:Alice Visentin (1993, Castellamonte) lives and works in Turin, where she studied painting at the Accademia Albertina. Over the years she has deepened her dialogue with her maternal grandmother and the women of the small mountain village where she used to spend long vacations. These relationships have inspired her work, allowing her to address her family history and that of the community. Her paintings are a "small whole world", the result of a concept of art made of stories that flow together, maintaining the chaos. Among the places where her works have been exhibited lately are the Palazzo delle Esposizioni in Rome and the Italian Cultural Institute in Paris. In 2019 he won the AccadeMibact award organized by DGAAP and the Fondazione Quadriennale. He participated in the Q-Rated Torino 2019 workshop organized by La Quadriennale di Roma. In 2017 he had his first solo exhibition in the nonprofit space TILE.
Camille Dumond (1988, France) is an interdisciplinary artist whose practice takes the form of films, installations, ceramic sculptures and editorial projects. She graduated from HEAD-Geneva work.master program in 2014 after studying at the ESBANM (Nantes) and the HKB (Leipzig). Her short fictions develop from huis-clos places and groups, responding to societal rules (an airport, a roof, a park, a gallery, a garden), depicting individuals within a gregarious existence. Questions of transposition and translation are also part of her approach and developed through documentary essays. Camille Dumond's installation practice takes the form of broadcasting devices of her films, and as well constitute extra narratives through autonomous and auratic sculptures. Selected recent shows include FRAC Pays de la Loire, Nantes; CAN, Centre d’art de Neuchatel; Le Cube -independant art room, Rabat; Palazzina, Basel; Forde, Geneva; Im Grafenhag, Winterthur; Biennale de Saint- Flour, France.
Caroline Schattling Villeval (1995) is a Swiss artist who lives and works in Geneva. Recently, she has been interested in the question of motherhood in contemporary art, playing with symbols from mainstream culture, used as common knowledge, making collectivity and commonality a strength. C.S.V. has had the opportunity to show her work in various Swiss and international art spaces, including Forde (CH), Zabriskie Point (CH), WallRiss (CH), Silicon Malley (CH), Sonnenstube (CH), Biquini Wax EPS (MX), Meijan Gallery (SE), PlayStation (NZ), and SET Space (UK).
Dorota Gawęda (PL) and Eglė Kulbokaitė (LT) are an artist duo living and working in Basel. Both graduated from the Royal College of Art in London in 2012. Their work spans performance, sculpture, photography, painting and video. They have exhibited internationally including: Kunstverein Hamburg (2021); Istituto Svizzero, Milan and Palermo (2021); Kunstverein Leipzig (2021); Swiss Institute, New York (2020); Den Frie, Copenhagen (2020); MWW, Wroclaw (2020); Kunstverein Düsseldorf (2020 and 2016); Lafayette Anticipations, Paris (2019); Palais de Tokyo, Paris (2018); 6th Athens Biennale (2018); MMOMA, Moscow (2018); Kunsthalle Basel (2017); ICA, London (2017); MOMA, Warsaw (2016); Berlin Biennale 9 (2016); MaM, Paris (2015) among others. Their solo shows include presentations at: Swimming Pool Projects, Sofia (2021); Lucas Hirsch Gallery, Düsseldorf (2021 and 2019); Julia Stoschek Collection, Düsseldorf (2020); Trafo Gallery, Budapest (2020); Amanda Wilkinson Gallery, London (2020 and 2018); Fri Art Kunsthalle, Fribourg (2020); Futura, Prague (2019); Cell Project Space, London (2018). They are the recipients of the Swiss Performance Art Award 2021 and have been nominated for the Prix Mobilière 2022. They are also the founders of the YOUNG GIRL READING GROUP (2013–2021).
Session 1 : Iouri Camicas, artiste plasticien Sujet : Mnémotechnique, comment apprendre les 1000 premières décimales du nombre pi
Le CREPA ouvre ses portes pour la toute première fois au coeur de la Vallée de Joux, accueilli par le laboratoire de recherche associatif Le Nid. Notre tout premier invité est l’artiste plasticien et musicien Iouri Camicas, venu entre autres avec de quoi partager le Mishima, une technique japonaise de travail de la porcelaine. Iouri Camicas a également emporté dans ses valises son intérêt et ses recherches autour de la conscience des rêves ainsi que son approche de la mnémotechnique. C’est cette dernière qu’il a souhaité partager publiquement aujourd’hui sous forme de micro-conférence, dont voici sans plus attendre la trace sonore enregistrée depuis le salon du Nid. Bonne écoute !
Session 2 : Alexandra Roger, artiste plasticienne Sujet : Comptabilité des artistes et associations culturelles
La deuxième session du CREPA accueille à bras ouverts Alexandra Roger, artiste multifacettes, adepte de cuisine et de crochet, mais également comptable avertie pour associations culturelles ! Tout au long de sa résidence, Alexandra Roger s’est ainsi généreusement proposée de répondre aux questions des habitant-e-s du Nid concernant l’économie de l’art et sa gestion comptable. Nous en avons gardé une trace enregistrée à vous présenter aujourd’hui, pour toutes celles et ceux qui se questionnent sur le paiement des artistes et les manières simplifiées de gérer sa compta en tant qu’indépendant-e. Si vous avez des questions ou remarques, n’hésitez pas à nous contacter par e-mail sur copypasta-editions@protonmail.ch. Bonne session !
Session 3 : Dragos Tara, musicien et Joëlle Kehrli, artiste chercheuse Sujet : Radio improvisée, horoscope 2022, petites annonces, quizz
Le CREPA a le plaisir d’accueillir le musicien polyartiste compositeur interprète expérimentateur Dragos Tara et la poly-artiste organisatrice et instigratrice de projets, charpentière, chercheuse indépendante et joueuse de sitar Joëlle Kehrli ! Cette troisième session est un peu particulière. Pendant 4 jours, nous avons librement échangé sur divers sujets allant des effets physiques du son sur le corps et la psyché au mélange entre travail artistique et travail social. Pris dans l’aventure de la rencontre et de la découverte des invité·e·s, la spontanéité de ces échanges a échappé à l'enregistrement. Ce que vous allez entendre aujourd’hui n’est donc pas une trace directe de ces discussions mais un travail sonore collectif sous forme d’émission radiophonique décomplexée sur le thème de l’Eclosion. Cette pièce a entre autres été présentée dans le cadre du projet en ligne Cartopodes, topographie numérique de territoires sonores aux racines sous-marines. Voici donc sans attendre le résultat de la troisième session du CREPA, avec Joëlle Kehrli, Dragos Tara et la participation active et imprévue de moi-même pour la création de Radio Blub ! Bonne écoute Lien Cartopodes : https://topophoniques.ch/cartopodes/
Trading Switzerland — Cultural exchange with Axel Berger (SE) & Emelie Markgren (SE)
Recorded in SUPERMARKET 2021 — Stockholm Independent Art Fair, 14.10.21 — 1:15:58
Production Lumpen Station
Hosts : Sara Koller & Andrea Marioni
Photo & graphic design : Mathilde Beetschen
With the support of : Ville de Bienne, Canton de Berne, Pro Litteris, FSRC and SWISSPERFORM
Trading Switzerland : a sound exhibition presented in Supermarket 2021 -Stockholm independent art fair
We invited as well seven artist to focus on a swiss practice of their choice. They committed to think what relation they have with their cultural heritage of proximity and to exit from nostalgia or identarian agendas. Trading Switzerland is a sound exhibition composed with contributions by : Rachele Monti, Jules Raynal & Maëlle Dreier, Charlotte Nagel, Julien Berberat, Paul Courlet and Antoine Läng
2021 — 1:07:17
Production Lumpen Station
Graphic design : Mathilde Beetschen
With the support of : Ville de Bienne, Canton de Berne, Pro Litteris, FSRC and SWISSPERFORM
Trading Switzerland — On diplomatic gifts with Swiss ambassador François Voeffray-Peyro
Recorded in SUPERMARKET 2021 — Stockholm Independent Art Fair, 14.10.21 — 19:08
Production Lumpen Station
Host : Andrea Marioni
Photo & graphic design : Mathilde Beetschen
Special thanks to Benita Funke
With the support of : Ville de Bienne, Canton de Berne, Pro Litteris, FSRC and SWISSPERFORM
Associates Traders : Herr Herrli
Broadcasted in SUPERMARKET 2021 — Stockholm Independent Art Fair — 10.21 — 59:32
Co-production Lumpen Station & Herr Herrli
Graphic design : Mathilde Beetschen
With the support of : Ville de Bienne, Canton de Berne, Pro Litteris, FSRC and SWISSPERFORM
Associates Traders : Rachel Maggart, Art Collab Studio, Marianne Mettler & Andrea Grieder
Broadcasted in SUPERMARKET 2021 — Stockholm Independent Art Fair — 10.21 — 29:53
Co-production Lumpen Station & Rachel Maggart, Art Collab Studio, Marianne Mettler & Andrea Grieder
Mix edit : Andrea Marioni
Photo & graphic design : Mathilde Beetschen
With the support of : Ville de Bienne, Canton de Berne, Pro Litteris, FSRC and SWISSPERFORM
Trading Switzerland — Cultural exchange with Ytje Veenstra (NL)
Recorded in SUPERMARKET 2021 — Stockholm Independent Art Fair, 13.10.21 — 1:08:23
Production Lumpen Station
Hosts : Sara Koller & Andrea Marioni
Photo & graphic design : Mathilde Beetschen
With the support of : Ville de Bienne, Canton de Berne, Pro Litteris, FSRC and SWISSPERFORM
Trading Switzerland — Cultural exchange with Ninutsa Shatberashvili (GE) & Sandro Sulaberidze (GE)
Recorded in SUPERMARKET 2021 — Stockholm Independent Art Fair, 17.10.21 — 1:09:15
Production Lumpen StationHosts : Sara Koller & Andrea Marioni
Photo & graphic design : Mathilde Beetschen
With the support of : Ville de Bienne, Canton de Berne, Pro Litteris, FSRC and SWISSPERFORM
Trading Switzerland — Cultural exchange with Liga Spunde (LV) & Irina Magurean (RO)
Recorded in SUPERMARKET 2021 — Stockholm Independent Art Fair, 15.10.21 — 1:05:30
Production Lumpen Station
Hosts : Sara Koller & Andrea Marioni
Photo & graphic design : Mathilde Beetschen
With the support of : Ville de Bienne, Canton de Berne, Pro Litteris, FSRC and SWISSPERFORM
Kristen Roos, talk at BELETAGE Art Space, Zurich radio live recorded at the exhibition 26.10.21
With sound art composed by Kristen Roos on vintage music software and insights from the artist hosted by Andrea Marioni.
www.kristenroos.cawww.beletageartspace.ch
The three days of laptopradiø moved the volcanic island longings to more distant and uncertain climes: 'Vulcan' was a hypothetical planet between the Sun and Mercury that no one knew for sure whether it had been sighted or whether sunspots had fooled the astronomers. In any case, it was clear that Mercury was orbiting the Sun on such a strangely curved path that could only be explained by the gravitation of another planet. With Einstein's theory of relativity, the situation was finally clarified and Vulcan disappeared into the curved space-time continuum.
The three radio programs from Thursday to Saturday are all three strangely interconnected.
However, each part of a day's program forms a self-contained broadcast, which is performed by present participants of the laptopradiø core group on the one hand and, at a distance (from Vulcan!) by good friends, invited artists, wayward guests and other LapTopradio members on the other hand.
With daring (now and then maybe also failed) sound experiments from far away, weird stories and bizarre music done by the participants for these broadcasts.
Each daily program has its own peculiarity, sometimes the narrative part prevails, other times the musical one or then the sound experiments; these parts follow the thematic framework of each day and are either produced live in Basel or at a distance or partly pre-recorded as well.
The three days of laptopradiø moved the volcanic island longings to more distant and uncertain climes: 'Vulcan' was a hypothetical planet between the Sun and Mercury that no one knew for sure whether it had been sighted or whether sunspots had fooled the astronomers. In any case, it was clear that Mercury was orbiting the Sun on such a strangely curved path that could only be explained by the gravitation of another planet. With Einstein's theory of relativity, the situation was finally clarified and Vulcan disappeared into the curved space-time continuum.
The three radio programs from Thursday to Saturday are all three strangely interconnected.
However, each part of a day's program forms a self-contained broadcast, which is performed by present participants of the laptopradiø core group on the one hand and, at a distance (from Vulcan!) by good friends, invited artists, wayward guests and other LapTopradio members on the other hand.
With daring (now and then maybe also failed) sound experiments from far away, weird stories and bizarre music done by the participants for these broadcasts.
Each daily program has its own peculiarity, sometimes the narrative part prevails, other times the musical one or then the sound experiments; these parts follow the thematic framework of each day and are either produced live in Basel or at a distance or partly pre-recorded as well.
The three days of laptopradiø moved the volcanic island longings to more distant and uncertain climes: 'Vulcan' was a hypothetical planet between the Sun and Mercury that no one knew for sure whether it had been sighted or whether sunspots had fooled the astronomers. In any case, it was clear that Mercury was orbiting the Sun on such a strangely curved path that could only be explained by the gravitation of another planet. With Einstein's theory of relativity, the situation was finally clarified and Vulcan disappeared into the curved space-time continuum.
The three radio programs from Thursday to Saturday are all three strangely interconnected.
However, each part of a day's program forms a self-contained broadcast, which is performed by present participants of the laptopradiø core group on the one hand and, at a distance (from Vulcan!) by good friends, invited artists, wayward guests and other LapTopradio members on the other hand.
With daring (now and then maybe also failed) sound experiments from far away, weird stories and bizarre music done by the participants for these broadcasts.
Each daily program has its own peculiarity, sometimes the narrative part prevails, other times the musical one or then the sound experiments; these parts follow the thematic framework of each day and are either produced live in Basel or at a distance or partly pre-recorded as well.
Monika Stalder, artist, also known as Monika Metallika, will play a selection of artist’s records from her collection. She works in various media including drawing, painting, installation and sound - produces her own dubplates - and finds inspiration in the cosmos and music.
Gavilán Rayna Russom, Fireworks (for Brian T.), 2020 David Shrigley, Monkey, 2012 Hevoset, Untitled, 2008 Alan Vega, Jukebox Babe, 1981 Lokal-int / Collectif Rodynam feat. Adrien Guerne, India, 2015 Martin Creed, Fuck Off, 2008 Wesley Willis, I Am Rock I Am Roll, 2000 Gray, Drum Mode, 2001 Mosset / Christophe, 2019 Electrophilia, Eulogy For Dead Jerks, 2002 Terry Fox, Internal Sound, 1982 Cosnost, Dark Ride, 2016 Christian Marclay, Untitled, 1999 Bruce Nauman, Rhythmic Stamping (Four Rhythms In Preparation For Video Tape Problems), 2017 Ian Anüll / Luigi Archetti / Lux Lindner, Im Westen Nichts Neues, 2013 Unknown, Untitled Henrik Håkansson, Dusk, 2003 Veronika Spierenburg / Anthony Ghazel, Gemmayzeh Cleanup Beirut LB, 2021 Die Insekten, Le Toast Hawaii, 2003 Martin Kippenberger, Ja, Ja, Ja, Nee, Nee, Nee (Für die Jugend), 2010 Renée van Trier, Something Is Wrong With Me (Parody), 2020 Ugo Rondinone & John Giorno, Thanx 4 Nothing, 2016
Guitars. Vox. Drums. Sometimes a bit of piano. Strolling on the astroturf waiting for the rain. A vibrant hallucination. An astmatic revelation. The eternal jive. There you go!
In this Live Björn Magnusson and drummer Toby Sommer develop live a dialogue between their instruments.
The sound exhibition LE NOSTRE DIVENIRE ATLANTE, curated by Giada Olivotto & Camilla Paolino and featuring artist Magali Dougoud, with the voices of Alessandra Carosi, Giulia Dussollier, Ghalas Charara, Ranti Bam, translated by Giulia Ferro, and with music by Chaos Angel, Diane Barbé, Julie Magnenat, Sirenessa, will be released soon on CANALE MILVA*!
Inspired by Brautigan Library which welcomed unpublished books, Andrea Marioni made an open call to several musicians in order to “recycle” their trash, old versions or whatever they think won’t be released officially.
This "sound transformation" from litterature to radio open the question about sound-waste from artist, indeed presented as part of a collective recycling process, these unreleased track can't be seen as a fetish. The "trash tracks" are fusionned, they are now part of something else than a personal-artistic-individual failure, they enter in dialogue with others leftovers.
participants: Adrien Guerne - Bella donna orchestra, Réka Csiszér, Léonard de Muralt, Hervé Thiot, Manuel Engel, Boris Gétaz, Eva Zornio, Robin Girod - Bandit voyage, Ross Hutchison, Emma Souharce
Rodrigo Toro Madrid (born 1990 in Santiago de Chile) lives and works between Basel and Zürich.Since 2012 he has been dedicated to the production of sound-kinetic installations emphasizing the use of analog and mechanical sound recording.
During the broadcast Rodrigo toro Madrid shared home made "vinyl" engraved on different kind of plastic. Most of them are square-records, they are fragile, all sounds have an underwater texture, as the artist said in the interview in the end of the podcast " I like they are about to vanish"
Datasonificazione, nello spazio non c'é il suono live broadcast in Lugano 12.06.2021 and in Bienne 16.06.2021 a sound exhibition by Sonnestube, co-production Lumpen Station.
L’esposizione sonora Datasonificazione, nello spazio non c’è il suono è il secondo episodio della rubrica SONO PANORAMA del collettivo Sonnenstube, inserendosi nella programmazione annuale intitolata 40’000 km/h : fuga dalla terra, una programmazione a volte itinerante, a volte inaspettata che segna un anno di svolta per il collettivo. Lasceremo questa terra? Con Datasonificazione, nello spazio non c’è il suono, Sonnenstube è felicie di presentare le produzioni sonore di Yimei Zhang + Carlo Fochetti, Marco Papiro, Katarina Sylvan, FERA e Giovanni Rendina. La mostra segna la continuazione della coproduzione fra Lumpen Station e l'associazione luganese. Durata della mostra: 1h 1m 45s.
The sound exhibition Datasonificazione, nello spazio non c'è il suono (Datasonification, in space there is no sound) is the second episode of the SONO PANORAMA column of the Sonnenstube collective and is part of the annual program entitled 40'000 km/h : fuga dalla terra (40'000 km/h: escape from the earth), a sometimes itinerant, sometimes unexpected program that marks a turning point for the collective. Will we leave this earth? With Datasonificazione, in the space there is no sound, Sonnenstube is happy to present the sound productions of Yimei Zhang + Carlo Fochetti, Marco Papiro, Katarina Sylvan, FERA, and Giovanni Rendina. The exhibition marks the continuation of the co-production between Lumpen Station and the Lugano association. Duration of the exhibition: 1h 1m 45s.
Alcuni dati sui partecipanti a /Some data on participants in
- Datasonificazione, in the space there is no sound
Yimei Zhang (Guiyang, Cina, 1990) vive e lavora a Locarno. Curatrice indipendente, fotografa, coordinatrice e mediatrice in progetti di scambi artistici e culturali. Si è laureata presso i Dipartimenti di scenografia d’arte e Nuove tecnologie dell'arte presso l’Accademia di Belle Arti di Brera di Milano nel 2014 e 2017. Ha partecipato a diversi progetti tra cui residenze, esposizioni e fiere d’arte, mettendo in relazione scene artistiche di diverse zone geografiche, lavorando tra Svizzera, Italia e Cina. In particolare nell’estate del 2016, ha fondato Fuzao Studio a Milano, la cui attività è caratterizzata dalla produzione di libri d’artista, che vengono presentati ogni anno in fiere di settore sulla scena internazionale; Dal 2021 fa parte del gruppo direttivo de La Rada, spazio per l’arte contemporanea, come co-direttrice. /Yimei Zhang (Guiyang, China, 1990) lives and works in Locarno. She is an independent curator, photographer, coordinator, and mediator in artistic and cultural exchange projects. She graduated from the Departments of Art Scenography and New Technologies of Art at the Accademia di Belle Arti di Brera in Milan in 2014 and 2017. She has participated in several projects including residencies, exhibitions, and art fairs, connecting art scenes from different geographical areas, working between Switzerland, Italy, and China. In particular, in the summer of 2016, she founded Fuzao Studio in Milan, whose activity is characterized by the production of artist's books, which are presented every year in art fairs on the international scene; Since 2021, she has been part of the management team of La Rada, a space for contemporary art, as co-director.
Carlo Fochetti vive a Losone, ha studiato musica elettronica e successivamente Sound Design for Performing Arts, sotto l’insegnamento del maestro Giorgio Sancristoforo presso il SAE Institute di Milano. La sua ricerca sonora esplora soprattutto sonorità ambientali e suoni organici derivanti dalla materia. / Carlo Fochetti lives in Losone, he studied electronic music and then Sound Design for Performing Arts, under the teaching of Giorgio Sancristoforo at the SAE Institute in Milan. His sound research explores mainly environmental sonorities and organic sounds derived from matter.
Katarina Sylvan (1989) è un'artista svedese che vive a Londra e lavora tra scultura, testo e suono. Dopo essersi laureata con un BA in Belle Arti alla Konstfack University of Arts & Crafts nel 2014, ha lavorato come pittrice scenica per il teatro al Riksteatern di Stoccolma e ha creato opere d'arte per luoghi come Fylkingen, ФОМО e Into the Valley Festival. Si è laureata al MA in Scultura al Royal College of Art di Londra nel 2019 e da allora ha esposto tra gli altri presso Non-Space, Aarhus, Platform, Stoccolma e De:Formal Gallery, Intersticio, Londra, Galleri K4, Oslo e Cylinder Gallery, Seoul. Il suo lavoro ha ricevuto premi dalla Kenneth Armitage Foundation, Gilbert Bayes Trust, Konstnärsnämnden e Konstakademien. Attualmente è in residenza alla Cité Internationale des Arts di Parigi. / Katarina Sylvan (1989) is a Swedish artist based in London working across sculpture, text, and sound. After graduating with a BA in Fine Art from Konstfack University of Arts & Crafts in 2014, she worked as a scenic painter for theatre at Riksteatern in Stockholm, and created artworks for venues such as Fylkingen, ФОМО and Into the Valley Festival. She graduated with the MA in Sculpture at the Royal College of Art in London in 2019 and has since then exhibited at Non-Space, Aarhus, Platform, Stockholm, and De: Formal Gallery, Intersticio, London, Galleri K4, Oslo and Cylinder Gallery, Seoul. Her work has received awards from the Kenneth Armitage Foundation, Gilbert Bayes Trust, Konstnärsnämnden, and Konstakademien. She is currently in residence at Cité Internationale des Arts in Paris.
Marco Papiro (1975) è un musicista sperimentale, produttore di musica elettronica, artista del suono e graphic designer nato a Basilea, Svizzera. Di formazione classica fin dalla tenera età, ha suonato violino, sintetizzatore e basso in diverse band prima di creare e pubblicare la sua musica autoprodotta come Papiro. Le sue influenze sono numerose e udibili: drone, minimal, folk di tutti i tempi e luoghi, psichedelica, classica contemporanea, industrial - ma anche easy listening, pop e persino musica new age. Le sue composizioni sono generalmente strumentali, meditative e ipnotiche, ma a volte anche bizzarre e umoristiche. Papiro è un polistrumentista con una passione per i sintetizzatori dell'era pre-programmabile - l'EMS VCS3, il Moog Sonic Six, il Roland Jupiter 4 e il Serge Modular tra gli altri. / Marco Papiro (1975) is an experimental musician, electronic music producer, sound artist, and graphic designer born in Basel, Switzerland. Classically trained from early age, he played violin, synthesizer, and bass guitar in several bands before creating and releasing his own self-produced music as Papiro. His influences are numerous and audible: drone, minimal, folk from all times and places, psychedelic, contemporary classical, industrial – but also easy listening, pop, and even new age music. His compositions are generally instrumental, meditative, and hypnotic, but at times also bizarre and humorous. Papiro is a multi-instrumentalist with a fondness for synthesizers from the pre-programmable era – the EMS VCS3, the Moog Sonic Six, the Roland Jupiter 4, and the Serge Modular among others.
Giovanni Rendina (1991) è un curatore indipendente e dottorando di ricerca presso l'Università del Molise. La sua pratica di curatela prende in considerazione la politica dell'arte in termini di soggettivazione individuale e modalità DIY. / Giovanni Rendina (1991) is an independent curator and PhD student at the University of Molise. His curatorial practice considers the politics of art in terms of individual subjectivation and DIY modes.
FERA è l’identità audio di Andrea De Franco (1989), pugliese di base a Bologna. Per dieci anni ha registrato dischi che non ha ascoltato nessuno, e dal 2020 ha cominciato a pubblicarli con Maple Death Records. Fa parte dell’entità collettiva Undicesima Casa e la sua non-casa editrice è DE PRESS. / FERA is the audio identity of Andrea De Franco (1989), an Apulian based in Bologna. For ten years he has been recording records that no one has heard, and since 2020 he started releasing them with Maple Death Records. He is part of the collective entity Eleventh House and his non-publishing house is DE PRESS.
Progetto grafico / graphic design : Niki Paltenghi Sonnenstube è un progetto di Giacomo Galletti, Giada Olivotto, Sandro Pianetti, Gabriel Stöckli e Gianmaria Zanda. /Sonnenstube is run by Giacomo Galletti, Giada Olivotto, Sandro Pianetti, Gabriel Stöckli and Gianmaria Zanda.
Com’è bello far l’amore da Trieste in giù #1 a sound exhibition with Ghalas Charara, Guendalina Cerruti & Daria Blum, Marta Margnetti, Nastasia Meyrat, and Ambra Viviani curated by Giada Olivotto & Camilla Paolino co-production with Lumpen Station with the support of Magica Opalini, Pro Helvetia, Pro Litteris, and FSRC
About Com’è bello far l’amore da Trieste in giù #1 The first sound exhibition of the column Com’è bello far l’amore da Trieste in giù is the first episode of the new column of CANALE MILVA, fitting into the conceptual framework set by the Italian popular song Tanti Auguri/Amoa, sung by Italian singer Raffaella Carrà as a hymn to sexual freedom and, in particular, to the liberation of women's sexuality. Podcast here
About CANALE MILVA CANALE MILVA has been initiated in the spring of 2020 by Giada Olivotto and Camilla Paolino on the invitation of Andrea Marioni, with the support of Lumpen Station and the artist-run space one gee in fog. The project came together in response to the temporary closure of studios, workshops, and art spaces, with the consequent impossibility of producing material works of art and presenting them in physical space. Through CANALE MILVA, we aim at engaging with the format of the sound exhibition, privileging sound as medium for art- and exhibition-making, as well as listening as the main fruition practice. CANALE MILVA includes a number of columns, each dedicated to a particular Italian song and/or to its singer, which become starting points for the construction of specific exhibition projects. The second column we are thrilled to present is Com’è bello far l’amore da Trieste in giù, dedicated to diverse ways of thinking and representing womxn's bodies, sexuality, desire, and pleasure, till the present moment. For its 2021 annual programmation, CANALE MILVA is powered by the association Magica Opalini and counts on the generous support of Pro Helvetia, Pro Litteris, and FSRC, to whom go our heartfelt thanks!
COME É BELLO FAR L’AMORE DA TRIESTE IN GIÙ #1 (TRANSCRIPTION & ENGLISH TRANSLATION)
CP: Dear listeners, welcome to the third episode of CANALE MILVA: the web-radio that since the summer of 2020 explores the format of the sound exhibition, always taking as a starting point some gems of the Italian music, chosen by Giada Olivotto and Camilla Paolino to spark a collective reflection with visual artists invited for the occasion.
GO: Today, with this third sound exhibition, we inaugurate a new column that we have entitled Com’è bello far l’amore da Trieste in giù. As you may have guessed, this new column is dedicated to the famous song Tanti Auguri/Amoa, sung by Italian singer Raffaella Carrà (so-called Raffa Nazionale), as well as by many of us: alone in the car or at the top of our lungs at the end of the night. The song, accompanied by frills and its “official” dance, gives us a series of unforgettable verses, which we will now listen to together. TANTI AUGURI!
Lumpen Embassy - Tamed Love, Galleria Schiavo Zoppelli, Milano 13.05.2021 (english below) Conversazione fra Sara Ravelli e Giada Olivotto in occasione della mostra personale Tamed Love
La registrazione include estratti audio di: Pink Floyd - Mademoiselle Nobs - Live Pompei / Watership Down, 1978 / Chimp Attack 911 Call / PIMP MY HORSE / Lil Nas X - Old Town Road / Queen - Delilah
Sara Ravelli (1993, Crema) è artista. La sua pratica si concentra su l'attenta analisi del potenziale delle immagini contemporanee che vengono poi interpretate e tradotte in forma prevalentemente scultorea e installativa. Innescando tensioni tra contesti sociali ed emotività, l'artista indaga la nozione di addomesticamento, in particolare, le relazioni di scambio tra umano, non umano e artefatto in cui affetto e controllo coesistono. Giada Olivotto (1990, Locarno) è curatrice indipendente, co-direttrice del collettivo Sonnenstube, membro della giuria di PlattformPlattform, co-fondatrice di Residenza La Fornace e del progetto sonoro Canale Milva.
http://schiavozoppelli.com/Exhibitions/Sara-Ravelli-Tamed-Love/Tamed-Love-Installation-view-at-Schiavo-Zoppelli-Gallery-Milano
Lumpen Embassy - Tamed Love, Galleria Schiavo Zoppelli, Milan 13.05.2021 Conversation between Sara Ravelli and Giada Olivotto on the occasion of the artist's solo exhibition Tamed Love.
The recording includes audio excerpts from: Pink Floyd - Mademoiselle Nobs - Live Pompeii / Watership Down, 1978 / Chimp Attack 911 Call / PIMP MY HORSE / Lil Nas X - Old Town Road / Queen - Delilah
Sara Ravelli (1993, Crema) is an artist. Her practice focuses on the careful analysis of the potential of contemporary images that are then interpreted and translated into mainly sculptural and installation form. Triggering tensions between social contexts and emotionality, the artist investigates the notion of domestication, in particular, the relationships of exchange between human, non-human and artifact in which affection and control coexist.
Giada Olivotto (1990, Locarno) is an independent curator, co-director of the collective Sonnenstube, member of the jury of PlattformPlattform, co-founder of Residenza La Fornace and of the sound project Canale Milva.
http://schiavozoppelli.com/Exhibitions/Sara-Ravelli-Tamed-Love/Tamed-Love-Installation-view-at-Schiavo-Zoppelli-Gallery-Milano
TRANSCRIZIONE IN ITALIANO
GO : Benvenute a tutte e a tutti, avrete riconosciuto tutti la voce di Mademoiselle Nobs, dal live a Pompei dei Pink Floyd. Siamo su Lumpen Station, radio online indipendente di Bienne che oggi dedica questa puntata della sezione Embassy a nello specifico a Sara Ravelli e alla sua esposizione Tamed Love presso la Galleria Schiavo-Zoppelli di Milano. Sono Giada Olivotto e oggi costruirò insieme all’artista Sara Ravelli una narrazione che possa farci scoprire -attraverso il suono- la sua pratica artistica e la mostra, visibile - vi ricordo - fino al 15 maggio presso gli spazi della Galleria di Via Martiri Oscuri, non lontano dalla stazione Centrale di Milano.
Il primo audio che compone la narrazione sonora che abbiamo preparato per voi oggi io e Sara è quello che avete appena ascoltato, ovvero un estratto della trasposizione cinematografica del libro Watership Down, in italiano tradotto La collina dei conigli, di Richard Adams. Un lungometraggio che ripropone gli eventi principali narrati nel romanzo dello scrittore inglese. Un libro, quello della collina dei conigli, di Richard Adams, che dopo la sua pubblicazione nel 1972 è stato reinterpretato sotto varie forme. Lo ritroviamo infatti per esempio in una puntata di Lost - nella libreria dell’esperto truffatore James Ford che tutti sicuramebnte conoscerete come Sawyer -. Come anche nel film Donnie Darko - nel quale viene assegnato come compito in classe -. La collina dei conigli ispira anche il nome della casa discografica OWLA, fondata da Skrillex essendo infatti il suo libro preferito. Dopo questa breve introduzione diamo il benvenuto a Sara, protagonista della puntata di oggi. Ciao Sara, è un vero piacere avere l’occasione di parlare con te del tuo lavoro e della tua mostra meneghina, intitolata appunto Tamed Love, come abbiamo anticipato all’inizio. Parto subito con una domanda per te. Quando abbiamo cominciato a scambiarci idee per la nostra chiacchierata di oggi la prima cosa che hai scelto di condividere con me è stato proprio il film d’animazione del 1978 -censurato in diversi paesi a causa della sua violenza e tratto dal libro di cui abbiamo appena parlato ovvero La collina dei conigli. Ti va di condividere con noi il perché della tua scelta, perché proporre questo audio per iniziare? Raccontarci come hai scoperto questo libro e se ti riconosci in uno dei personaggi protagonisti?
SR : Ciao Giada, il piacere è mio e ti ringrazio... (risatina) in verità non ho mai letto il libro ma credo, ormai tre anni fa, nella mia prima casa a Milano, una sera, ho guardato il cartone animato e ricordo di averlo trovato incredibilmente violento, ma allo stesso tempo anche molto bello perché l’animazione è molto ben fatta e i conigli, antropomorfizzati, che hanno tutti una personalità molto distinta. Nella storia non vi è un unico eroe, ma un insieme di personaggi che, grazie alle loro doti individuali, riescono a dare vita a un’unità compatta che riesce a superare le avversità. In particolare, lo spezzone che abbiamo ascoltato è tratto dal momento in cui Quintiglio, il coniglietto più impaurito ma allo stesso tempo più perspicace della conigliera sente che sta per accadere qualcosa di terribile e si mobilita quindi per far evacuare tutti i suoi amici coniglietti. L’immagine mostra questo coniglietto che guarda lo spettatore terrorizzato ed è la stessa che ho utilizzato per aprire uno dei lavori presenti in mostra, cioè una piccola pubblicazione intitolata sempre Tamed Love che ho scritto collezionando storie in cui soggetti umani e animali sono protagonisti. Le storie raccolte nella pubblicazione sono diverse tra di loro - parlano di esperienze affettive, fatti di cronaca e fatti scientifici. Le storie così diverse - o come mi piace chiamarli, casi studio - si mischiano fra loro creando una nuova narrazione. Inizialmente, si aprono sempre -possiamo dire- in modo positivo, cercando di contestualizzare i personaggi, per poi rivelare risvolti drammatici. In ogni storia sono protagonisti gli animali che hanno dei nomi propri, e vengono chiamati direttamente per nome. Ad esempio la storia di intitola Violetta and Hector, I mistook love for submission, parla di un esperienza affettiva dove parlo del mio primo bacio, credo di aver avuto circa 6 anni, dato a un delfino in un acquapark che ho poi scoperto essere morto pochi anni dopo. Probabilmente a causa dei maltrattamenti degli istruttori dei detentori o comunque a delle problematiche relative alla loro vita dentro la vasca. Per cambiare personaggio, mi viene in mente che ieri un cane mi ha timidamente rubato un pezzo di pizza, e così penso alla storia di Marco, che è la storia di questo cane della polizia al confine svizzero francese che incontravo ogni volta che passavo il confine che, alla mia proposta di dargli un pezzo di pizza -in modo molto istintivo- mi ha abbaiato fortissimo, penso perché abituato ad essere ricompensato dalla polizia con crocchette tendenzialmente che lui associa forse solo alla droga, agli esplosivi e alle persone scomparse. Ma la mia pizza era solo una normale pizza che evidentemente lui non associava a nessuna di queste cose.
GO : Incredibile, grazie per condividere questi dettagli con noi. Mi sembra di capire che le storie che hai scritto e raccolto nella tua pubblicazione Tamed love abbiano la loro origine -trovino insomma la loro origine- in momenti diversi della tua vita. A questo punto mi chiedo se esistono magari anche delle storie che si rifanno, o che si intrecciano, con fatti di cronaca?
SR : Sì, uno dei miei protagonisti preferiti è Travis uno schimpanzé americano vissuto per molto tempo con i suoi “genitori umani” che lo trattavano come un essere appunto umano. In particolare ricordo all’inizio mi aveva incuriosita una frase detta proprio dai suoi proprietari da cui ho estratto “ Travis sapeva aprire la porta con le chiavi, vestirsi, dare da bere alle piante e dare da mangiare il fieno ai cavalli” quindi in qualche modo questa frase sottolinea l’idea che un animale è più intelligente dell’altro e un animale fosse in grado di prendersi cura dell’altro dandogli da mangiare. mettendo su due piani diversi il cavallo e lo schimanzé. La storia di Travis purtroppo non ha un lieto fine.
GO : Si, Sara ha infatti selezionato per noi un estratto dalla una telefonata al 911 avvenuta nel 2009 dove è proprio lo scimpanzé Travis ad essere il protagonista. Ascoltiamolo insieme per capire insieme quanto è stata tragica la fine di Travis.
SR : Questo era l’audio in cui un’amica di Sandra, la mamma umana di Travis, chiama la polizia perché Travis sta cercando di uccidere la sua amica Carla. Un giorno lo scimpanzé sembra impazzire dopo che Carla tocca il suo gioco preferito ovvero un pupazzetto chiamato Elmo, e sembra volerla uccidere per averlo toccato. La polizia dopo aver ricevuto la chiamata arriva nel giardino di Sandra e spara a Travis uccidendolo. Si scoprì in seguito che Travis aveva assunto nel pomeriggio, dello Xanax mischiato con la merenda e che lo Xanax può provocare allucinazioni e aggressività nell’individuo che lo assume.
GO : La drammatica storia di Travis che ci hai raccontato mi fa riflettere sulla questione del prendersi cura, nel caso di una specie diversa dall’uomo significa in fondo addomesticarla e pretendere che accetti la nostra presenza costante e il nostro bisogno d’amore incostante allo stesso tempo. La vicenda di questo scimpanzé drogato - e rapito fondamentalmente dal suo habitat naturale, oltre che costretto a vivere in compagnia di umani - mi fa riflettere anche sulla questione dell’addomesticamento e in particolare sull’area, il territorio e il clima nei quali decidiamo che gli animali possano vivere. Fra questi elementi troviamo in special modo gli oggetti per prenderci cura o addomesticare degli animali, che insomma son oggetti che mutano insieme alla nostra società. Mi riferisco alla produzione di una cuccia o di un calesse. Entrambi oggetti prodotti da noi ma che per usarli devono essere attivati da specie animali addestrate diverse dalla nostra. Ho visto che all’interno della mostra che hai portato in Galleria vi sono dei dettagli nelle opere che richiamano proprio la presenza di un animale ma che allo stesso tempo non ne pretendono la presenza. Ti va di darci la tua opinione sulla questione dell’amore addomesticato intra-specie ? In particolare, mi permetto di chiederti se, per dare alle nostre ascoltatrici e ascoltatori un’idea di come si presenta visivamente la mostra, di descriverci quali opere hai deciso di inserire nella mostra e in che modo sono disposte nello spazio?
SR: Si, uno degli aspetti più interessanti per me è questa idea di una costrizione che sembra essere gentile. In questo momento mi interessano le relazioni tra umano e animale in cui sia una forma di affetto e anche una forma di potere coesistono, interscambiandosi continuamente, e secondo me questo tipo di relazione si palesa in modo particolare tramite gli oggetti dell’addomesticamento, che possono essere quindi una cuccia, un collare, un biberon e così via… difatti potremmo stare qua all’infinito, ma diciamo nello specifico gli strumenti che mi interessano di più sono quelli che hanno una doppia valenza di cura e potere. Come hai detto tu, gli oggetti in mostra richiamano la presenza di un corpo animale ma allo stesso tempo non ne pretendono la presenza, infatti volevo che le mie sculture fossero evocative, mi piace molto che il lavoro abbia diciamo come dei “buchi” che lasciano spazio a diverse narrazioni anche personali di chi guarda il lavoro e che invece la cosa più specifica sia l’atmosfera. Nella serie di lavori presenti in mostra mi sono concentrata sull’idea di travestimento come forma di controllo applicato in particolare al mondo equestre cucendo dei costumi per cavalli e alla nutrizione come forma di dipendenza realizzando queste grosse tende in tessuto che ho poi montato alle pareti della galleria.
GO : Ed è la canzone del 2019 di Lil Nas X che ci introduce al protagonista della mostra Tamed Love. Sara, il protagonista della tua narrazione in questa esposizione mi pare di aver capito che sia il cavallo. Il cavallo è una sottospecie equina che vive e sopravvive insieme a noi da circa 5000 anni. La storia dell’addomesticamento del cavallo selvatico è iniziata nelle steppe asiatiche - con l’ormai estinto Tarpan- e da li non si è mai fermata. Ancora oggi, nonostante non necessitiamo più di questi splendidi animali sia per muoverci o per nutrirci continuiamo a renderli necessari e a integrarli soprattutto nel nostro tempo libero. Il cavallo è poi stato soggetto anche indiscusso dell’arte che lo ha reso protagonista, ma a me piacerebbe parlare di uno fra gli esempi più recenti -che più mi è rimasto impresso- è quello legato all’artista franco algerino Mohamed Bourouissa il quale nel 2018 al Museo d’Arte Moderna de la Ville de Paris ha presentato un'esposizione intitolata Urban Riders. Urban Riders, oltre a essere il titolo dell’esposizione è anche il titolo film prodotto nel 2015. L’artista francese, per la produzione di questo film, ispirato dal lavoro della fotografa Martha Camarillo, una fotografa che ha analizzato la comunità di Fletcher Street. Bourouissa dopo aver preso visione della ricerca della Camarillo ha organizzato l’Horse Day dove ha invitato i membri della comunità dei cavalieri di Fletcher Street del nord di Philadelphia a mostrare i loro cavalli vestiti grazie a costumi realizzati per l’occasione. A Parigi, Bourouissa ha poi esposto i costumi realizzati per i cavalli e le fotografie scattate durante la realizzazione di Urban Riders. Mi chiedo a questo punto se i tuoi lavori sono stati realizzati con l’intenzione di essere indossati poi dagli equini o se la mia sensazione che non abbiano questo scopo da parata equestre è corretta?
SR : No non sono stati pensati per essere indossati sia perché non mi sembra corretto utilizzare gli animali all’interno dei lavori ma anche perché volevo che le forme fossero in qualche modo più informali, più astrette. La forma delle teste dei cavalli viene da un calco in gesso che mi è stato gentilmente concesso dal Musée d’Histoire Naturelle di Ginevra, quindi diciamo sono partita da un cavallo che era già un cavallo oggetto, non un cavallo appartenente a qualcuno nella sua sfera intima ma appartenente allo stato, un cavallo che era già in sé una rappresentazione. I costumi per cavalli fanno riferimento a costumi usati in parate popolari, in particolare all’inizio del lavoro avevo letto un articolo intitolato “The 20 Most Miserable Horses in the World” dove le immagini di questo articolo mostrano cavalli travestiti dai loro padroni in occasione di sfilate o eventi ambigui, tra il celebrativo e il domestico: cavalli vestiti da pecore, cavalli-draghi, cavalli di Halloween, unicorni. I costumi cuciti a mano, incorporano elementi pesanti e ingombranti ma allo stesso tempo assemblati con cura e precisione. La cosa interessante di queste immagini è che mi sono sembrate ridicolizzanti, appunto, miserabili, ma allo stesso tempo divertenti e piene di dedizione. Nelle immagini di creava una tensione tra affettività e umiliazione, data da una “costrizione oggettuale”.
GO : Grazie ai dettagli descritti da questo Gamer nell’audio che abbiamo appena potuto ascoltare insieme con la tecnica del “pimp my horse” e sta cercando di scegliere quale si ala sella miglio re per il suo cavallo. Andiamo avanti ora, andiamo un po’ di più nello specifico analizzando i materiali che hai utilizzato per la realizzazione dei tuoi pezzi che variano di volta in volta. Mi hai recentemente raccontato delle scelte che adotti quando scegli, acquisti le stoffe con cui poi realizzi le tue installazioni. Ti andrebbe di condividere con noi cosa sta dietro alla scelta del raso viola, o del trapuntato blu, ecc.?
SR: Per quanto riguarda i costumi per cavalli ogni costume conferisce all’animale così come per l’uomo un’identità e i materiali si rifanno tutti a immaginari specifici e funzioni specifiche del materiale stesso. Ad esempio, c’è il tessuto trapuntato che rimanda a un’idea di coperta, di letto, di cuscino, se vogliamo; i rasi di poliestere che vengono utilizzati per foderare i divani o comunque che servono per l’arredamento e i tessuti di nylon più legati a un’idea di performatività, sono tessuti utilizzati solitamente per i costumi delle ginnaste, sono molto elastici e hanno sempre questo aspetto molto brillante, possiamo dire un po' pop che mi piace molto. Invece per quanto riguarda “Feeder”, ovvero le tende il tendaggio, è composto da pile tessuto trapuntato e raso, le ho cucite rifacendomi ad alcune cucce per animali domestici di cui avevo collezionato molte immagini in modo dà capirne l’estetica. Essendo grande il tendaggio da idea di qualcosa di molto pesante che però è spezzato da queste tettarelle modellate in creta cruda, che fanno da decorazione. Devo dire che il materiale nei miei lavori è sempre scelto in modo concettuale, che risponde a un esigenza anche più emotiva, capisco la funzionalità stereotipata se vogliamo anche del materiale e mi piace poi ribaltare il senso, continuo infatti a rimaneggiare il materiale fino a quando non sento che la forma è quella giusta.
GO: Grazie mille Sara, terminerei la discussione sui materiali chiedendomi cosa sono le macchie che ricoprono il pavimento della galleria Schiavo-Zoppelli, di che materiale si tratta e se la sua diffusione a chiazze sparse è parte di un gesto, di una performatività nascosta che precede l’apertura dell’esposizione al pubblico ?
SR : Le macchie sul pavimento sono macchie di sale mischiato con acqua, più o meno diluita, dipende da come ho deciso di usarla, a tratti in modo più denso oppure più diluito. Perché quando il sale si asciuga crea dei cristalli, tutto questo perché i cavalli quando sono stressati usano leccare dei grossi cubi di sale e allo stesso tempo quando corrono sudano moltissimo, quindi per me questo sale era per rimarcare un’idea di corpo, un’idea di fluido. Oltre al sale in mostra c’è un altro elemento organico che è la creta cruda lasciata cruda per lasciarle una parvenza di naturale, organico e distruttibile e non trasformarla in ceramica. Su questa idea di performatività nascosta, che tu dicevi nascosta al pubblico... Mi sono interrogata a lungo sull’idea di performatività della scultura, volevo trovare un modo per far sembrare tutto meno morto, una sensazione che ho spesso quando guardo un lavoro, con questi elementi organici mi sembrava quasi di sfuggire a questa sensazione. Potremmo dire anche nel mio lavoro esiste un aperformatività insita nel lavoro perché sembra che ci sia un'azione che precede il risultato. Il sale crea anche un percorso, in qualche modo pone un percorso definito allo sguardo di chi osserva il lavoro.
GO : Grazie, mille per le tutte cose che hai condiviso con noi oggi e speriamo che anche le persone in ascolto stiano immaginando la mostra e che grazie alle tue descrizioni e alle tue riflessioni, oltre che alle suggestioni sonore - che abbiamo selezionato insieme oggi per questa puntata - insomma che tutte e tutti possano approfittare degli ultimi giorni per visitare la mostra Tamed Love in galleria che vi ricordo rimarrà aperta fino al 15 di maggio presso la galleria Schiavo-Zoppelli di Milano. Terminiamo ora la puntata di oggi con la canzone di Freddy Mercury, Delilah dedicata al suo gatto. Buona serata a tutti!
SR : Ciao, ciao grazie a tutti.
SR : Ciao, ciao!
ENGLISH TRANSCRIPTION
GO : Welcome everyone, you might have recognized the voice of Mademoiselle Nobs from Pink Floyd's live show in Pompeii. We are on Lumpen Station, an independent online radio from Biel, which today dedicates this episode of the Embassy section to Sara Ravelli and her exhibition Tamed Love at Galleria Schiavo-Zoppelli in Milan. I'm Giada Olivotto and today I'm going to build together with the artist Sara Ravelli a narration that can help us discover -through sound- her artistic practice and the exhibition, visible - I remind you- until May 15th at the Gallery in Via Martiri Oscuri, not far from Milan's Central Station.
The first audio that forms the sound narration that Sara and I have prepared for you today is the one you have just listened to, that is an extract from the cinematographic transposition of the book Watership Down, by Richard Adams. A feature film that re-proposes the main events narrated in the novel by the English writer. A book, that of Watership Down, by Richard Adams, which after its publication in 1972 has been reinterpreted in various forms. In fact, we find it in an episode of Lost - in the library of the expert swindler James Ford, whom you all surely know as Sawyer - as well as in the movie Donnie Darko - in which it is assigned as a class assignment -. The Hill of Rabbits also inspires the name of the record company OWLA, founded by Skrillex, being in fact his favorite book. After this brief introduction we welcome Sara, the protagonist of today's episode. Hi Sara, it's a real pleasure to have the opportunity to talk with you about your work and your exhibition in Milan, entitled Tamed Love, as we mentioned at the beginning. I'll start right away with a question for you. When we started exchanging ideas for our chat today, the first thing you chose to share with me was the 1978 animated film -censored in several countries because of its violence and based on the book we have just talked about- The Hill of Rabbits. Would you like to share with us why you chose this audio to begin with? Tell us how you discovered this book and if you recognize yourself in one of the main characters?
SR : Hi Giada, the pleasure is mine and I thank you...(giggle) in truth I have never read the book but I think, now three years ago, in my first home in Milan, one evening, I watched the cartoon and I remember finding it incredibly violent, but at the same time also very beautiful because the animation is very well done and the rabbits, anthropomorphized, all have very distinct personalities. In the story there is no single hero, but a collection of characters who, thanks to their individual talents, manage to create a compact unit that manages to overcome adversity. In particular, the clip that we have listened to is taken from the moment when Quintiglio, the most frightened but at the same time most perceptive bunny in the hutch feels that something terrible is about to happen and therefore mobilizes to evacuate all his bunny friends. The image shows this bunny looking at the terrified viewer and it is the same one I used to open one of the works in the exhibition, that is a small publication always titled Tamed Love that I wrote collecting stories in which human and animal subjects are protagonists. The stories collected in the publication are different from each other - they talk about emotional experiences, news stories and scientific facts. Such diverse stories - or as I like to call them, case studies - are mixed together creating a new narrative. Initially, they always open -we can say- in a positive way, trying to contextualize the characters, and then reveal dramatic implications. In each story, the main characters are animals that have their own names, and are called directly by name. For example, the story is titled Violetta and Hector, I mistook love for submission, it is about an emotional experience where I talk about my first kiss, I think I was about 6 years old, given to a dolphin in an aquapark that I then discovered to be dead a few years later. Probably due to mistreatment by the keepers' instructors or otherwise to issues related to their life inside the tank. For a change of character, it occurs to me that yesterday a dog shyly stole a piece of pizza from me, and so I think of Marco's story, which is the story of this police dog at the Swiss-French border that I used to meet every time I crossed the border who, at my suggestion to give him a piece of pizza -in a very instinctive way- barked at me very loudly, I think because he is used to being rewarded by the police with croquettes that he perhaps associates only with drugs, explosives and missing persons. But my pizza was just a regular pizza that he obviously didn't associate with any of those things.
GO : Amazing, thank you for sharing these details with us. I understand that the stories you have written and collected in your publication Tamed love have their origin in different moments of your life. At this point I wonder if maybe there are also stories that are based on, or intertwined with, facts from the news?
SR: Yes, one of my favorite characters is Travis, an American chimpanzee who lived for a long time with his "human parents" who treated him like a human being. In particular, I remember at the beginning I was intrigued by a sentence said by its owners from which I extracted "Travis could open the door with the keys, dress himself, give water to plants and feed hay to horses" so somehow this sentence emphasizes the idea that an animal is smarter than the other and an animal was able to take care of the other feeding him. putting on two different levels the horse and the chimpanzee. Travis' story unfortunately does not have a happy ending.
GO : Yes, Sara has in fact selected for us an excerpt from a 911 call that took place in 2009 where Travis the chimpanzee is the protagonist. Let's listen to it together to understand how tragic Travis' end was.
SR : this was the audio where a friend of Sandra, Travis' human mom, calls the police because Travis is trying to kill her friend Carla. One day the chimp seems to go crazy after Carla touches her favorite toy which is a puppet called Elmo, and seems to want to kill her for touching it. The police after receiving the call arrive in Sandra's garden and shoot Travis, killing him. It was later discovered that Travis had taken Xanax in the afternoon, mixed with a snack and that Xanax can cause hallucinations and aggression in the individual who takes it.
GO : The dramatic story of Travis that you told us makes me think about the question of taking care, in the case of a species other than humans basically means domesticating it and demanding that it accept our constant presence and our inconstant need for love at the same time. The story of this drugged chimpanzee - and basically abducted from its natural habitat, as well as forced to live in the company of humans - also makes me reflect on the question of domestication and in particular on the area, territory and climate in which we decide that animals can live. Among these elements we find in particular the objects for taking care of or domesticating animals, which in short are objects that change together with our society. I am referring to the production of a kennel or a buggy. Both of these objects are produced by us, but in order to use them they must be activated by trained animal species different from our own. I have seen that in the exhibition that you have brought to the Gallery there are details in the works that recall the presence of an animal but at the same time do not claim its presence. Would you like to give us your opinion on the question of domesticated love between species? In particular I would like to ask you, in order to give our listeners an idea of how the exhibition is visually presented, to describe to us which works you have decided to include in the exhibition and how they are arranged in the space?
SR: Yes, one of the most interesting aspects for me is this idea of a constraint that seems to be gentle. At this moment I am interested in the relationship between human and animal in which both a form of affection and a form of power coexist, interchanging continuously, and according to me this type of relationship is particularly evident through the objects of domestication, which can be a kennel, a collar, a bottle and so on ... in fact we could stay here forever, but let's say specifically the tools that interest me most are those that have a double value of care and power. As you said, the objects in the exhibition evoke the presence of an animal body but at the same time they don't claim its presence, in fact I wanted my sculptures to be evocative, I really like that the work has, let's say, "holes" that leave room for different narratives, even personal ones, of those who look at the work and that the most specific thing is the atmosphere. In the series of works in the exhibition I focused on the idea of disguise as a form of control applied in particular to the equestrian world by sewing costumes for horses and to nutrition as a form of addiction by making these large fabric tents that I then mounted on the walls of the gallery.
GO : And it is Lil Nas X's 2019 song that introduces us to the protagonist of the exhibition Tamed Love. Sara, the protagonist of your narrative in this exhibition I understand is the horse. The horse, is an equine subspecies that has lived and survived with us for roughly 5000 years. The history of the domestication of the wild horse began in the Asian steppes - with the now extinct Tarpan - and has never stopped since. Even today, despite the fact that we no longer need these beautiful animals to move or to feed ourselves, we continue to make them necessary and to integrate them especially in our free time. The horse has then also been the undisputed subject of art that has made it the protagonist, but I would like to talk about one among the most recent examples -that has stayed with me the most- is the one related to the French Algerian artist Mohamed Bourouissa who in 2018 at the Museum of Modern Art de la Ville de Paris presented an exhibition entitled Urban Riders. Urban Riders, in addition to being the title of the exhibition is also the title film produced in 2015. The French artist, for the production of this film, inspired by the work of Martha Camarillo, a photographer who analyzed the community of Fletcher Street. Bourouissa after viewing Camarillo's research organized Horse Day where she invited members of the North Philadelphia Fletcher Street horsemen community to show their horses dressed thanks to costumes made for the occasion. In Paris, Bourouissa then exhibited the costumes made for the horses and the photographs taken during the making of Urban Riders. I wonder at this point if your works were made with the intention of being worn later by the equines or if my feeling that they do not have this equestrian parade purpose is correct?
SR: No, they were not meant to be worn, both because I don't think it's right to use animals in my work and also because I wanted the forms to be somehow more informal, more abstract. The shape of the horses' heads comes from a plaster cast that I was kindly given by the Musée d'Histoire Naturelle in Geneva, so let's say I started from a horse that was already an object, not a horse belonging to someone in his intimate sphere but belonging to the state, a horse that was already a representation in itself. The horse costumes refer to costumes used in popular parades, in particular at the beginning of the work I had read an article entitled "The 20 Most Miserable Horses in the World" where the images in this article show horses disguised as their masters in parades or ambiguous events, between the celebratory and the domestic: horses dressed as sheep, dragon-horses, Halloween horses, unicorns. The hand-sewn costumes incorporate heavy and bulky elements but at the same time assembled with care and precision. The interesting thing about these images is that they seemed ridiculously, precisely, miserable, but at the same time fun and full of dedication. In the images there was a tension between affectivity and humiliation, given by an "object constraint".
GO : Thanks to the details described by this Gamer in the audio we have just been able to listen together with the "pimp my horse" technique and he is trying to choose which is the best saddle for his horse. Let's move on now, let's get a little more specific by analyzing the materials you used to make your pieces that vary from time to time. You recently told me about the choices you make when choosing and purchasing the fabrics with which you create your installations. Would you care to share with us what's behind the choice of purple satin, or blue quilting, etc.?
SR: As far as horse costumes go, each costume gives the animal as well as the human an identity and the materials all relate to specific imagery and specific functions of the material itself. For example, there is the quilted fabric that refers to an idea of a blanket, of a bed, of a pillow, if you will; the polyester satins that are used to line sofas or that are used for furniture and the nylon fabrics that are more related to an idea of performativity, they are usually used for the costumes of gymnasts, they are very elastic and always have this very bright look, we can say a little pop that I like a lot. As for "Feeder", the curtains are made of quilted fleece fabric and satin, I sewed them referring to some kennels for pets of which I had collected many images in order to understand the aesthetics. Being large, the curtain gives the idea of something very heavy, but it is broken by these nipples modeled in raw clay, which serve as decoration. I must say that the material in my works is always chosen in a conceptual way, which responds to a more emotional need, I understand the stereotypical functionality of the material and I like to reverse the sense, I continue to rework the material until I feel that the form is right.
GO: Thank you very much Sara, I would like to end the discussion on materials by asking myself what are the stains that cover the floor of the Schiavo-Zoppelli gallery, what kind of material are they and if their diffusion in scattered patches is part of a gesture, of a hidden performativity that precedes the opening of the exhibition to the public?
SR : The stains on the floor are stains of salt mixed with water, more or less diluted, depending on how I decided to use it, at times more dense or more diluted. Because when the salt dries it creates crystals, all because when horses are stressed they use to lick large cubes of salt and at the same time when they run they sweat a lot, so for me this salt is an idea of body, an idea of fluid. In addition to the salt in the exhibition there is another organic element that is the raw clay left raw to leave it a semblance of natural, organic and destructible and not turn it into ceramic. On this idea of hidden performativity, which you said hidden from the public.... I wondered about the idea of performativity in sculpture for a long time, I wanted to find a way to make everything seem less dead, a feeling I often have when I look at a work, with these organic elements I almost felt like I was escaping this feeling. We could also say that in my work there is an aperformativity inherent in the work because it seems that there is an action that precedes the result. The salt also creates a path, in some way it sets a definite path for the eye of the observer of the work.
GO : Thank you very much for all the things you have shared with us today and we hope that the people listening are also imagining the exhibition and that thanks to your descriptions and your reflections, as well as the sound suggestions - that we have selected together today for this episode - in short, that everyone can take advantage of the last days to visit the exhibition Tamed Love in the gallery that I remind you will remain open until May 15 at the Schiavo-Zoppelli gallery in Milan. Let's end today's episode with Freddy Mercury's song, Delilah dedicated to his cat. Have a good evening everyone!
SR : Bye, thank you all.
SR: Bye, bye!
Lumpen Embassy - Art Cell Odyssey, in Kunsthalle Appenzell Ziegelhütte, 14.03.2021
Archive of the invitation of the Kunsthalle Appenzell in which the artists Wassili Widmer and Andrea Marioni presented a live radio broadcast from the exhibition APP'N'CELL NOW.
"We would like to explore an exhibition as a Space Odyssey or a journey to hell like Dante's, where the encounter of the exhibited works allows us to give voice to creators, to explore an iconography, to portray an organic anatomy that unfolds in the architecture of the museum." Wassili W. & Andrea M. The broadcast include the participation of the exhibition curator Roland Scotti and the artists, Birgit Widmer, Harlis Schweizer, Mäddel Fuchs, Gabriela Falkner, Mark Staff Brandl, Jochen Heilek and Regula Engeler, Pablo Walser, Beatrice Dörig, Anna Diehl.
Lumpen Embassy - Art Cell Odyssey, in Kunsthalle Appenzell Ziegelhütte, 14.03.2021
Archive of the invitation of the Kunsthalle Appenzell in which the artists Wassili Widmer and Andrea Marioni presented a live radio broadcast from the exhibition APP'N'CELL NOW.
"We would like to explore an exhibition as a Space Odyssey or a journey to hell like Dante's, where the encounter of the exhibited works allows us to give voice to creators, to explore an iconography, to portray an organic anatomy that unfolds in the architecture of the museum." Wassili W. & Andrea M. The broadcast include the participation of the exhibition curator Roland Scotti and the artists, Birgit Widmer, Harlis Schweizer, Mäddel Fuchs, Gabriela Falkner, Mark Staff Brandl, Jochen Heilek and Regula Engeler, Pablo Walser, Beatrice Dörig, Anna Diehl.
Alla mattina appena alzata #2 a sound exhibition with Nicole Colombo, Lisa Lurati, Vera di Maus & morning sound sisters, Noemi Pfister and Sara Ravelli curated by Giada Olivotto & Camilla Paolino for Lumpen Station with the support of one gee in fog
about Alla mattina appena alzata #2 The second sound exhibition of the column Alla mattina appena alzata (in the morning, freshly awoke) comes as a continuation of the first episode, on-air in August 2020, fitting into the conceptual framework set by the Italian popular song Bella ciao, as it was sung by the Italian rice workers (mondine) for centuries in sign of protest and resistance against the exploitation of their workforce.
CANOVACCIO #2 (TRANSCRIPTION & ENGLISH TRANSLATION)
GO: Welcome, dear listeners, to the second collective exhibition broadcasted on Canale Milva: a channel that intends to explore specifically the format of the sound exhibition, taking the moves from some gems of Italian music chosen for you by Giada Olivotto and Camilla Paolino and explored together with a series of visual artists invited to participate with a sound piece produced for the occasion.
CP: This morning, we are happy to wish you a good start of the day with the second sound exhibition of the column Alla mattina appena alzata (in the morning, freshly awoke), dedicated to the version of Bella Ciao sung by Milva for CANZONISSIMA in 1971. This song has been sung since the XIX century by the Italian rice-workers (the so-called mondine) as a form of resistance to the exploitation of their labor power. The exhibition includes works by artists Nicole Colombo, Lisa Lurati, Noemi Pfister, Sara Ravelli, and Vera di Maus (with the morning sound sisters), which expand the horizon outlined by artists Lula Broglio, Joo Young Hwang, Rada Kozelj and Claire van Lubeek (in collaboration with Crowdpleaser) in the first exhibition of the column, broadcast in August 2020 and which we invite you to listen to, in case you haven't already.
GO: As for the first sound exhibition mentioned by Camilla, Milva's Bella Ciao will function as the starting point, or frame, for this second exhibition of the column Alla mattina appena alzata. The exhibition we are about to listen to has been realized for Canale Milva on Lumpen Station, thanks to the invitation of Andrea Marioni and thanks to the support of the Geneva-based artist-run space one gee in fog. And, most of all, big thanks to the artists who agreed to take part in it! We now leave you to the sounds, noises, and words composed for us by Nicole, Lisa, Noemi, Sara, and Vera. Happy listening!
Vera di Maus, Le mattine appena alzate, 23m14s, 2020 Let's start our listening with a sound piece by Swiss artist Vera Di Maus, titled Le mattine appena alzate (the mornings freshly awoke), referring to the figurehead of our sonic boat. For this occasion, Vera gifts us with a collage of sound fragments collected in collaboration with 23 other fellow artists. Vera asked her colleagues: how do you start your working days? What do you do when you wake up? How do you prepare for action? The answers have been patiently stitched together by Vera's voice, which provides us with a storyline and gives us the opportunity to embark on a journey from dreamlike melody to a home dimension. Let's fly like flies from house to house on the traces of all these micro-stories that make up this one big parallel morning.
Sara Ravelli, Mezzanotte al sole, 18m20s, 2020 We continue our listening with the piece Mezzanotte al sole, by Italian artist Sara Ravelli. This piece is presented as a mixtape composed of a series of famous Italian (but not only) pop songs and fragments of conversations that make up the artist's affective soundscape, populated by a pantheon of female figures ranging from Mia Martini to Giuni Russo to Maria Sannia and others. Known soundtracks blend with spoken word and various web sourced material, giving life to controversial imagery punctuated by the strong and passionate personality of the singers. The starting point of the composition has been a reflection of the artist on the strength of a singing woman, especially perceived in live performances of the divas who have pierced or made vibrate with their voices the contemporary musical panorama.[Tracklist: Young girl talks about relationships; Una Notte Speciale, Alice, Alice,1986; Mia Martini comes back to Calabria; I Heard Love is Blind, Amy Winehouse, Frank, 2003; Amy Winehouse talks on the phone with her manager; Crisi Metropolitana, Giuni Russo, Energie, 1981; Nothing Compares 2 U, Sinéad O’Connor, I Do Not Want What I Haven’t Got, 1990; Britney Spears angry has a breakdown; Casa Bianca, Marisa Sannia, live at Sanremo 1968, 1968; Young girls tries to sing I Will Always Love You by Whitney Houston.]
Nicole Colombo, Nemesi, 4m15s, 2020 Let's continue listening now with Italian artist Nicole Colombo, who proposes Nemesi (nemesis), a sound piece with two main characters: the voice of the artist and her double, or an imaginary doppelganger who represents her nemesis, her bitter enemy. The sound piece is based on a narrative plot halfway between a manifesto and a confession recalling a slow rap song, in which the principles of collectivism and the workerist ideology are called into question in favor of a cold expression of cynicism resulting from daily toil and alienation. The sound traces of stage equipments and props project the mental image of a domestic environment, in a moment suspended between dawn and morning, before a new day of work begins.
Noemi Pfister, Omaggio alle Mondine_may.01.2084, 2m55s, 2020 We continue our listening with the sound piece Omaggio alle Mondine_may.01.2084 (tribute to the rice-workers_may.01.2084) by Swiss artist Noemi Pfister, evoking and paying homage to the tradition of the Italian rice-workers and their song with a chorus that transposes the notes of Bella Ciao to an imaginary and disastrous 2084 (any reference is not purely coincidental). This temporal shift projects us into a dystopian reality in which, according to the artist, "the exploitation of workers and natural resources is stronger than ever and the times when one could demonstrate in the streets are long gone". In this scenario, which the artist retrieves from a distant future through an operation that could be described as "archaeological", hybrid creatures, relegated to the muddy margins of a toxic and polluted megalopolis, raise their song of resistance. In this choral intervention, the voices of Serena and Giada Morgantini, Ambra Marcolli, Sabrina Musatti, Laura Gatto and Noemi herself intertwine, accompanied by the ukulele of Victoria Holdt―whom we thank for their precious contribution. Enjoy your listening!
Lisa Lurati, Paseo sonoro, 28m12s, 2020 This brings us to the last part of our sound exhibition with Swiss-Argentinian artist Lisa Lurati, who takes us on a walk through the songs that have characterized various struggles of resistance in Latin America over the past 50 years. This excursion will come down to the melodies that have accompanied the Chilean struggles of 2019, recently leading to the plebiscite for rewriting the constitution. These last two years have placed Chile in a historic moment of constitutional transformation for Latin America, which, in countries such as Bolivia and Ecuador, has led between 2008 and 2009 to the introduction of "Buen vivir", fruit of the Andean cosmovision impling a life in multispecies harmony between individuals, communities, and nature. We leave you now to Paseo sonoro by Lisa Lurati. [Playlist: Victor Jara - Te recuerdo Amanda; Violeta Parra - La carta; Eliana - Campesito colombiano; Calice - Chico Buarque & Milton Nascimento; Lindonéia - Tropicalia ou Panis et Circensis; Mercedes Sosa - Como la Cigarra; Victor Jara - El derecho de vivir en paz]
CP: And with the voice and the songs of Lisa Lurati we conclude the second sound exhibition of the column Alla mattina appena alzata, on-air on Canale Milva. We thank the artists for their exciting contributions and all the listeners who have followed us along the path structuring this second episode of Alla mattina appena alzata.
GO: Thanks again to Lumpen Station for their hospitality and to one gee in fog for supporting our sound project, which came about in response to the inability to get together and produce exhibition projects in our art spaces during the covid-19 pandemic.
Supérette – a sample of conspiracy atmospheres Avec Jeremy Chevalier, Monica German, Sara Koller, Swann Thommen, Emma Souharce, Franziska Baumgartner and Jonathan Frigeri
Cette compilation de créations sonores originales était initialement prévue comme exposition radiophonique pour la participation de Lumpen Station et espace libre Visarte BielBienne à la foire internationale d’espace d’arts à but non lucratif Supermarket 2020 à Stockholm. Avec les mesures de restrictions liées au Covid19, il n’a pas été possible de présenter ces créations sous leurs formes originales. Elles ont été diffusées le 16 décembre à espace libre Visarte BielBienne comme émission extra lors de l’exposition radiophonique SONATERIUM réalisée entre le 4 novembre et 9 décembre 2020.
Les artistes ont été invité·es à réagir à la question de l’atmosphère et plus particulièrement celle d’un espace d’art indépendant. En effet, ces lieux souvent des Artist Run Space, se caractérisent par leur capacité à proposer un cadre particulier pour la réception de créations artistiques. Ces lieux d’exposition sont en marge des circuits commerciaux et souvent accueillent des artistes qui mènent un travail de recherche expérimental et proposent des formes qui sont en devenir, ainsi que en marge des lieux de diffusions établis.
A partir de cette réflexion, sous la suggestion du philosophe Luca Depietri, il a été question d’imaginer l’atmosphère de ces espaces sous l’angle de la conspiration, comprise pour son étymologie con-spirare, respirer ensemble. Ce souffle à partager constitue l’essence de l’atmosphère d’un lieu et contribue au sentiment de communion parmi les participants.
Pour Supérette, les artistes ont imaginé une bande son d’un espace d’exposition sonore et l’atmosphère qui s’en dégage, de manière à accueillir des auditeur·trices présent·es sur place ou à distance et proposer une expérience de réception d’une exposition qui s’articule surtout dans l’imaginaire.
Le texte d’Hakim Bey « Sermons radiophoniques », éditions le mot et le reste, 2011, a aussi servi comme cadre conceptuel de la compilation Supérette, ici dessous sont présentées quelques citations :
Pag 52 « Quant à la radio, c’est clairement le média de l’absence – comme le livre mais plus encore, puisque le livre vous laisse seul dans la lumière, la radio seul dans le noir. »
Pag44 « Et ceci nous ramène à la forme politique de l’immédiatisme. Face-à-face, corps-contre-corps, souffle-contre-souffle (littéralement une conspiration) – le jeu de l’immédiatisme ne peux tout simplement pas être joué à un niveau accessible au faux consensus. (…) Comme une société secrète, la mise en réseau qu’il effectue doit être lente (infiniment plus lente que la vitesse pure de la technoCom, des médias et de la guerre), et elle doit être matérielle plutôt qu’abstraite, désincarnée, sous la médiation de la machine ou de l’autorité ou de la simulation. »
Pag 15 « Certains médias, principalement des arts-vivants tels que la danse, le théâtre, la performance musicale ou poétique, s’appuient moins sur la médiation que d’autres comme la télévision, les CD, la réalité virtuelle. (…) Les supports écrits et la radio exigent davantage d’imagination, les films moins, la télévision encore mois, la réalité virtuelle le moins de tous – jusqu’ici. »
This compilation of original sound creations was originally planned as a radio exhibition for the participation of lumpen station and espace libre Visarte BielBienne in the non-profit international art space fair : Supermarket 2020 in Stockholm. Due to restrictions in connection with Covid19 it was not possible to present these creations in their original form. They were broadcasted on December 16 at the espace libre Visarte BielBienne as an extra broadcast during the radio exhibition SONATERIUM realized between November 4 and December 9, 2020.
The artists were invited to react to the question of the atmosphere and more particularly that of an independent art space. Indeed, these places, often Artist Run Space, are characterized by their capacity to propose a particular framework for the reception of artistic creation. These exhibition spaces are on the bangs of commercial circuits and often host artists who conduct experimental research and propose forms that are in the process of becoming, as well as on the bangs of established venues. From this reflection, under the suggestion of the philosopher Luca Depietri, it was a question of imagining the atmosphere of these spaces from the angle of conspiracy, understood for its etymology con-spiracy, breathing together. This breath to be shared constitutes the essence of the atmosphere of a space and contributes to the feeling of communion among the participants.
The artists for Supérette have imagined a soundtrack of a sound exhibition space and the atmosphere that emerges from it in such a way as to welcome listeners present on site or at distance and offer an experience of receiving an exhibition that is articulated above all in the imagination.
Hakim Bey's text "Sermons radiophoniques", éditions le mot et le reste, 2011, also served as a conceptual framework for the compilation Supérette, here below are a few quotations:
Pag 52 "As for the radio, it is clearly the medium of absence - like the book, but more so, since the book leaves you alone in the light, the radio alone in the dark. »
Pag44 "And this brings us back to the political form of immediacy. Face-to-face, body-to-body, breath-by-breath (literally a conspiracy) - the game of immediacy simply cannot be played at a level accessible to fake consensus. (...) Like a secret society, the networking it performs must be slow (infinitely slower than the pure speed of technoCom, media and war), and it must be material rather than abstract, disembodied, mediated by machine or authority or simulation. »
Pag 15 "Some media, mainly living arts such as dance, theater, live music or poetic performance, rely less on mediation than others such as television, CDs, virtual reality. (...) Written media and radio require more imagination, films less, television still less, virtual reality the least of all - so far. »
SONATERIUM vol. 5 - Emma Souharce une exposition radiophnique à espace libre Visarte BielBienne
Enregistrement de l'émission diffusée en direct le 9.12.2020
SOUHARCE
harsh jazz et chansons (?) en roue libre planning : réveil. verre d'eau. café. sono. dîner. verres. transats. le direct. police & pizza.
salut, ça va ?
le no-input consiste en l'alimentation d'un organisme par lui-même. par exemple : une table de mixage munie de câbles qui relient les entrées aux sorties histoire que la seule issue du labyrinthe soit un vortex, puis un haut parleur. par exemple : une personne qui mâche son cerveau et s'apprête à parler. mais il ne s'agit pas vraiment de cela puisqu'on entend une chanson, une recette, un horoscope, une mélodie mélancolique, qu'on est dérangé·e par tant de bruit – satané bruit – et qu'on ne comprend pas tout car c'est en français – satané français.
je ne peux rien annoncer de précis mais il y a autour de moi des synthés, une boîte à rythme et un de ces objets barbares tentaculaires surmonté d'un micro.
je me prépare donc à peut-être improviser, peut-être à chanter, peut-être à parler, tout ceci en vue de la grande préparation aux peut-êtres qui n'en finissent pas de s'enfiler. L'électricité et moi empruntons ainsi le chemin du demi-no-input à la recherche d'un arrêt de la recherche, ce moment juste là où il est enfin possible de purger les circuits de ce qui stagne.
SONATERIUM VOL.4 - Monica Germann une exposition radiophonique à espace libre Visarte BielBienne Enregistrement de émission diffusée en directe de Monica Germann le 2.12.2020
SLOW DOWN MY LONELY FRIENDmonica wants you to feel comfortable in her sonaterium. this wednesday her inner sun gleams most radiantly when she gets her vocal chords vibrating. a vacuum cleaner can awaken and make sensitive fibers vibrate in every human being. the aim of dishwashing agents is primarily to free glasses from remnants, perhaps still capable of making some chords vibrate within the heart, but incapable of changing our lives or becoming our lives. the partly asymmetric choreography starts off with the step basics, broken down phase by phase until it reaches the ultimate dance step combination. steel is, when 10000 dancers with their metal shoes make the stage vibrate.
SONATERIUM VOL.3 - une exposition radiophonique espace libre artist in residence : Wassili Widmer
RADIO KILLED THE INTERNET STAR In his long-durational performance „Radio killed the internet star“ Wassili explores the medium radio and various elements of it. A compilation of songs about the radio, interviews with various radio station hosts, features by national and international artists and poetic elements from the artist will be part of the work. „Radio killed the internet star“ will sound more or less like a radio show, while the medium is investigated in an experimental and playful way. As part of the „Sonaterium“ radio exhibition Wassili Widmer turns the station into a platform of gathering. The performance will be mainly in German (excluded interviews with English-speaking persons).
In seiner long durational Performance "Radio killed the internet star" setzt sich Wassili mit dem Medium Radio und verschiedenen Elementen davon auseinander. Eine Zusammenstellung von Liedern über das Radio, Interviews mit verschiedenen Radiomoderatoren, Features von nationalen und internationalen Künstler*innen und poetische Elemente des Künstlers selbst werden Teil der Arbeit sein. "Radio killed the internet star" wird mehr oder weniger wie eine Radiosendung klingen, während das Medium auf experimentelle und spielerische Weise untersucht wird. Im Rahmen der Radioausstellung "Sonaterium" macht Wassili den Sender Lumpenstation zu einer Plattform der Zusammenkunft. Die Aufführung wird hauptsächlich auf Deutsch sein (bis auf Interviews mit englischsprachigen Personen).
SONATERIUM VOL. 2 FHUN GAO "Melancholic spheres for your kitchen, bathroom-radio solitude. Helping you to cristallise your sunday-on-a-wednesday-evening blues. A glass of red wine and chocolate cake would help you too." An encounter for theremin & buchla music easel. The voice somehow infiltrated the relationship. A duo-phonic interview for three disparate monophonic voices.
Cette émission s'inscrit dans l'exposition radiophonique Sonaterium en collaboration entre Lumpenstation et espace libre Visarte BielBienne.
Sonaterium - une exposition radiophonique Artistes en résidences : Monika Stalder & Réka Csiszér
Tune in to the INTER-DIMENSIONAL SHORTWAVE CHANNEL. Experience a parallel-dimensional multichannel interference of cosmic stations - from the earth to the moon, around venus and back.
Sonaterium est un programme de résidences de la durée d'une semaine où plusieurs artistes de Suisse proposent une création sonore radio diffusée en direct à l'intérieur d'espace libre Visarte Biel/Bienne. L'exposition est constituée de ces émissions et leurs archives sous forme de podcast.
Produced by espace libre Visarte Biel/Bienne and Lumpen Station
Whoops room : Porno Circuit vol. 2 Orchestré par Sara Strasser Avec Leksileks, Nathalie Imhof, Romanski et Roberto l’Etrusque Host : Andrea Marioni DJs : Ilie « P » Vanily & Senior Cap
Quel rapport entre la déchéance humaine, la consommation et le Porno ? Entre dégénérescence, possession, désir et le pouvoir, que devient le plaisir obscène de la chaire et sa fantaisie ? Sans débat, sans discussion, sans réponses, Porno Radio choisit le Son pour pénétrer l’univers envoûtant, humide et profond du fantasme.
Porno Circuit continue son immersion dans l’univers controversé/subversif, polymorphe et subjectif de la pornographie. Au programme de ce deuxième volet, une mise à jeu libre et ludique où s’entrecroisent différentes perspectives sur le sujet. Abominable, abusive pour certains, nécessaire pour d’autres, vulgaire, obscène et au même temps attractive et magnétique. Indécente jusqu’au fond, la pornographie dans le contexte du Porno Circuit reflète une volonté de liberté expressive permettant de sortir des convenances, d’élargir les formes, sans vouloir les cerner.
Bien que cela soit aujourd’hui une thématique vulgarisée, populaire, qui pourrait en faire soupirer certains… ha, non, pff, pas encore de la pornographie, comme un plat réchauffé à toutes les sauces, elle n’en reste pas moins présente, vivante et indiscernable.
Porno Circuit s’intéresse à la pornographie au sens large du terme. C’est avec une philosophie d’observateur du phénomène et de son mode d’existence multiple qu’elle est abordé sans jugement de valeur. La pornographie devient pour le Porno Circuit, un véhicule d’exploration et d’expression libre. Un peu comme un espace laboratoire de création. La pornographie devient ici un modèle de curiosité et d’expression de changements sociétal où les mots clés sont la démesure, l’obscénité, la grossièreté ainsi que la consommation qui exploite nos instincts sexuels. C’est évident que chacun à sa propre représentation ou bien références à la pornographie. Pour illustrer ce propos, je vais vous lire un texte de Gilles Lapouge, qu’on retrouve sur le web site d’universalis.fr
C'est une entreprise infinie que de définir la pornographie et de marquer ses différences et ses similitudes avec son distingué voisin, l'érotisme. Beaucoup s'y sont appliqués et l'exercice est devenu académique. C'est que ces deux notions sont à la fois enchevêtrées et remuantes. Elles bougent à mesure que passent les siècles et, parfois, elles échangent leurs places. Dix ans ou cent ans ont suffi pour que Flaubert, Miller, Pauline Réage ou Emmanuelle Arsan cessent d'être obscènes ou pornographiques pour gagner d'autres labels : classiques ou érotiques. L'érotisme est souvent la pornographie de la veille. D'une culture à une autre, de même, les frontières de la pornographie sont variables. Les Suédois ont longtemps tout regardé sans honte ni surprise quand certains pays musulmans ou socialistes détestent le plus timide des strip-teases. (Je tiens à ouvrir une parenthèse et préciser, qu’on parle ici des années 60 à 80, et qu’aujourd’hui les lois se sont durcis à ce sujet en suède). Enfin, la pornographie est taillée sur mesure pour chaque individu. Chacun sécrète sa propre pornographie. Ce qui choque l'un réjouit son voisin ou le laisse de marbre.
Comment, dans ces conditions, avancer une définition stable et universelle de la pornographie ? En vérité, ce terme est étrange en ce qu'il semble privé de contenu et de contour en même temps. C'est un sac vide dans lequel chacun entasse ce qu'il veut – parfois son rêve et parfois son dégoût –, compte tenu de sa culture, de sa classe sociale, de l'éducation qu'il a subie, de ses fantasmes. Lewis Carroll a inventé le mot valise. Le mot « pornographie » pourrait passer pour un « mot poubelle » chargé de recueillir tout ce que, de l'érotisme, de la sexualité ou de la volupté, on refuse ou convoite. Robbe-Grillet résume cela par sa formule : « La pornographie, c'est l'érotisme des autres. » Et l'on pourrait ajouter cette nuance : « Dis-moi ce que tu tiens pour pornographique et je te dirai qui tu es. » Fin de citation.
Porno Circuit s’intéresse à la diversité de perceptions, de relations au sujet et à la forme évolutive, qui mute au rythme de la société. Hybride, elle se mélange à d’autres corps pour continuer à exercer son pouvoir de dopamine. Dans le cadre du premier volet, le format sonore s’est inscrit dans une volonté de ne pas débattre, de ne pas chercher de réponses. Bien au contraire, de lui donner de l’espace, de la flexibilité, un peu de liberté, de sensualité et du mystère à travers le SON. Et aussi, c’était une invitation à l’auditeur de mobiliser ses propres images internes.
Aujourd’hui, ce volume 2, fait un pas en avant en explorant la Pornographie comme étant un phénomène vivant, du vivant et vise à élargir le sujet sans prétendre le cerner. C’est avec un esprit ludique et parés d’une âme d’explorateurs que les participants vont vous partager leurs jeux immersifs sur le sujet. Porno Circuit garde son désir de solliciter votre curiosité et votre ouverture d’esprit en entrecroisant divers paradigmes.
La Pornographie recèle suffisamment d’ingrédients pour générer la mise en mouvement de nos imaginaires entre autres. Polysémique, polymorphe, subjective, mutante, sujet, objet, grossière, obscène, elle génère par son indécence une attirance ou et un rejet. Abominable pour certains, nécessaire pour d’autres, vulgaire et au même temps attractive et magnétique, indécente, elle permet de sortir des convenances, d’élargir les formes, de les ultra passer. Et ça, c’est bon.
Close Distance : Covidiality Gonzo Promenade, philosophical DJ set by Mr. DVD
Cauchemar de l'American Dream, Hunter S. Thompson incarne à lui tout seul une déviance. Cette démarche, volontairement choisie pour révéler l'envers du décor de la société états-unienne de l'après-guerre, se manifeste dans des textes virulents regroupés sous le terme de Gonzo. Un journalisme proche du dystopique, paranoïaque, où les éléments les plus banales de la société deviennent des outils de propagande. Proche de la mythologie de Barthes, Hunter S. Thompson décrit tout au long de sa carrière littéraire une dérive à la fois individuelle et sociétale. Avec Gonzo Promenade, Mr. DVD nous invite à découvrir un Hunter S. Thompson oral, composant avec plusieurs interviews une forme de proximité qui nous plonge dans le rôle de témoin ou de compagnon du périple mental étas-unien.
Close Distance : Covidiality Ne pas jeter dans la voie publique Janosch Perler & Maria Beglerbegovic
Der Amateur und die Amateurin sind Anfänger und Anfängerin. Sie können etwas noch nicht so gut. Sie haben etwas angefangen, aus eigenem Interesse. Verlangen. Pflicht. Wunsch. Sie üben eine Tätigkeit im nicht-professionellen Rahmen aus. Sie werden es vielleicht nie gut genug können. Aber das spielt keine Rolle. Denn der Amateur und die Amateurin sind Liebhaber und Liebhaberin. Sie lieben, was sie tun. Sie lieben die Dinge. Sie brennen für eine Sache, sie sind leidenschaftlich. Instinkt. Reflex. Gewohnheit. Sie sind hin- und hergerissen. Sie verlieren ihr Ziel nicht aus den Augen. Eingebung. Bestimmtheit. Der Amateur und die Amateurin sind ambitioniert. Sie lassen etwas sein. Aber das spielt keine Rolle.
Während einer fünfstündigen Autofahrt erzählt ein Taxifahrer von einer App, einer Art Bilderfundus, wo jedes Bild seinen Preis erzielt. Man macht Fotos, lädt sie hoch. Jemand sucht bestimmte Sujets, findet sie und zahlt dafür. Es geht um Beschlagwortung, das Banale, die Vermarktung eines Momentes, Pixel und Skrupellosigkeit. Um welchen Preis gibt es ein Bild? In dieser Zeit kommt eine Liste zum Vorschein. Ein Inventar aller Gegenstände, die jemand besitzt. Dinge haben sich angesammelt, sind verloren gegangen, wurden durch Neues ersetzt. Dinge sind einfach da. Sie bleiben.
Das folgende Stück ist aufgrund einer Liebhaberei für Dinge entstanden. Das Ding im Moment. Situation. Fundstück. Der Gegenstand oder der Moment wird entdeckt, beobachtet, eingefangen, festgehalten und gesammelt. Alle Dinge haben mit dem Menschen zu tun, sie werden von ihm hergestellt, benutzt und weggeworfen. Die Dinge haben einen wichtigen Platz, vor Ort, in unseren Gedanken. Auffindbar Zuhause, vor der Tür, um die Ecke, dort gegenüber. Die vielen Momente dazwischen, die Situation, sind von Bedeutung. Was besitzen wir? Was nicht? Und warum? Machen wir uns ein Bild, gehört uns dann das Sujet des Bildes? Nehmen wir ein Gespräch auf, gehört uns dann das Gespräch? Wir machen uns Dinge und Momente zu unserem Eigentum. Wir sammeln sie, weil wir sie lieben. Wir finden sie, weil wir sie lieben. Wir suchen sie, weil wir sie lieben. Die Gründe dieser Zuneigung können unterschiedlicher Natur sein. Der Amateur und die Amateurin sind Jäger und Sammler, Jägerin und Sammlerin. Die wertvollen Dinge haben einen Platz verdient in der Nähe von uns. Sie sind zugleich Kunstwerk und Werkzeug.
Maria Beglerbegovic & Janosch Perler
ENGLISH : Ne pas jeter dans la voie publique
Being an amateur means being a beginner. You are not very good at something. You have started something, you followed your own interest. Out of desire. Duty. Wish. You are working in a non-professional context. You may never be able to do it well enough. But it doesn't matter. Because amateurs are lovers. As an amateur you love what you do. You love those things. You are passionate about something. You have an instinct. Reflex. Habits. Back and forth. You don't lose sight of your goal. Inspiration. Certainty. Amateurs are ambitious. You let other things beside. But it doesn't matter.
During a five-hour car ride, a taxi driver talks about an app, a kind of picture pool, where every picture gain its own price depending on how many people buy it. Someone is looking for photos, certain themes, finds them and pays for them. You take photos, upload them. It's about key words, the value of a moment, the banal, pixels and ruthlessness. At what price you buy a picture?
During this time a list appeared. An inventory of all the items someone owns. Things have accumulated over a lifetime, got lost, were replaced by new ones. The things are just there. They stay.
This piece was created out of love for those things.The things in certain moments. Situations. Circumstances. Found objects. The object or the moment is discovered, observed, captured and collected. All things are connected with us : they are created by us, used and thrown away by us. Things are important. They appear in an environment, in our minds. You find them at home, in front of your door, around the corner, there, across the street.
The many moments in between, the situations, are important. What do we have ? What do we don’t have ? And why ? When you take a picture does the subject of the picture belongs to you ? When you’re recording a conversation does the conversation belong to you ? We make things and moments our property. We collect them because we love them. We find them because we love them. We look for them because we love them. This affection can arise out of different reasons. Amateurs are hunters and gatherers. The valuable things deserve a place near us. They are both, a work of art and a tool for work.
Close Distance : Covidiality Le culte de la personnalité, Vol. 1 Andrea Marioni
Rêves d'adolescent ringards, envie naïve d'être une star, s'échapper de soi-même pour créer un personnage public, un être existant pour les autres et au-delà sa propre conscience. Une dualité dans l'esprit s'installe, fluctuant entre la vérité d'une dimension individuelle et la perte d'identité. Il y a un air de revanche. Le succès est abordé ici comme un danger, capable d'engager la personne qui le désir dans un corps à corps vicieux. En se débarrassant de l'anonymat, on provoque aussi un soi secret. Une existence emprisonnée dans sa tactique spectaculaire, dépendante du regard des autres et désorientée dans son espace mentale.
La figure publique : la star, devient un monstre, en affirmant sa singularité elle produit sa propre aliénation qui n'est rien d'autre en réalité qu'un immense canular. Le culte de la personnalité nous plonge dans les méandres du fantasme, du désir, de la pulsion. L'auditeur-trice est témoin de l'expérience d'un fou ou d'un idiot, qui s'injecte dans les veines une réalité parallèle, qui goûte une potion inconnue, l'elixir du culte de la personnalité et traverse les répercussions qui s'opèrent dans son propre corps et son esprit. La pop devient progressivement l'outils d'annihilation et l'instrument de coexistence avec l'autre.
Le Vol.1 présente le début de cette transformation, la prise de conscience qu'en se pliant au culte de la personnalité, on doit donner en échange une partie de soi, qu'en se prenant au jeu, on finit par se prendre au piège.
Close Distance : Covidiality La Normale Maëlle Gross Avec Karine Dahouindji, Pascal Bornand et Aurélien Barrau (enregistrement fait aux Bains des Pâquis, juillet 2020)
Texts extract from "Four changes", Gary Snyder, 1969 and "why I should come", Maëlle Gross, 2020 narration&music by Maëlle Gross Sound lyrics : Bring On the Lucie, John Lennon, 1973 Sounds taken between 2016 to 2020
The text "the four changes" by Gary Snyder, an American writer, activist and poet who is part of the Beat generation. His writings challenged me with their precision, their often avant-garde vision (his texts date from 1969) and their pragmatism. This text was written during a short but pivotal period in 1969 in San Francisco in the middle of the "Summer of Love". Thus marking the beginning of a hippie area of change and the beginning of great fights.
It seemed timely and inspiring to me to read these environmentalist texts in the light of 2020. It brings a reflection and a debate on these 4 propositions, which can sometimes seem radical and extreme even today. And I can't help but wonder, what has changed today? This sound piece is intended as a journey through these 4 different texts but also as a state. The sounds have been recorded during the last four years but mainly during the lockdown. The piece is meant to be raw with a voice-over often from the first take. As if the reader was discovering the text with the listeners for the first time.
Maëlle Gross, born in 1988 in Lausanne, Switzerland, lives and works in Lausanne and Geneva. Maëlle Gross is a multimedia artist who mainly uses video, performance and installations for her work. She creates fictional narratives from the stories, passions and dreams of singular people, for example from interviews with immigrant women or motorcyclists with whom she has developed a close relationship over an extended period of time. For example, bikers for "HotHeads", a bodybuilder (Strike a pose) or women from the Pâquis neighbourhood ("Going where we come from"). She is particularly interested in social problems and questions of identity. The artist sometimes takes on a role in her pieces, for which she creates the texts in collaboration with artist and composer Simon Acevedo, as well as the costumes and props. She has been nominated for the Swiss art Award 2019 and the Prix La Mobilière 2020 at Art Genève. Her first institutional solo exhibition was held at the Kunsthaus Langenthal in spring 2020.
Close Distance : Covidiality Go to the Devil - Ernestyna Orlowska & Markus Mezenen
A journey from spam calls towards romantic love : Via god, satan, innocent children & karaoke.
Close Distance : Covidiality Fandom - Sara Koller & Matt Mottel
The vorpal membrane of the panopticon ensnares the pop star. The pop star is a medium to infect the population with the desire to be the pop star. Suddenly the pop star is the body that has lost power. The fandom controls the image. The image is the information. The body of the pop star has lost an identity of information. It is never more than just a body of the person, but a shared commodity. Matt Mottel and Sara Koller translated Britney Spears songs into Emoji language, a contemporary image based language, that tries to capture and express an emotion or opinion. By translating back to lyrics the confusion reaches a second step and the interpretation of the original intention of the lyrics is further distorted.
Close Distance : Covidiality Soap Stone Stove Flurina Casty, Zoë Binetti, Milena Krstic
Text and narration by Flurina Casty Music by Zoë Binetti Recording and post-production by Milena Krstic
Playlist : 00:00 Stiva 05:05 Idol 08:42 Musical intermission 11:54 Fiug 14:17 Mort 16:03 Levada
Soap Stone Stove (2020) is a poem written and performed by Flurina Casty. Suitable to the format of Lumpen Station, Flurina asked her friend and performance artist Zoë Binetti to accompany her with the eerie and instrumental sounds from Zoë’s improvisational repertoire. The live session of the two artists performing simultaneously was recorded on the 4th of August in Zoë’s Studio in Bern. Milena Krstic, sound artist, lyricist and composer, was asked to complete the team, as her technical skills would guarantee a great recording session. Her final mastering promised to give the work the crisp sound quality it deserves to guarantee a great auditive experience for the listener.
Flurina Casty (*1988) lives and works in Zurich and Grisons. She graduated with a bachelor in fine arts from the Gerrit Rietveld Academy in Amsterdam in 2015 and obtained her Master’s degree in 2020 in performance and writing at the Bern University of the Arts. The past years she has been developing her artistic practice and focused in finding a unique language and perspective to engage her audience through spoken word performances. She investigates the correlation between memory, experience, oral history, symbolism and sensemaking. In her work she frequently blends performance, poetry, video and painting.She has exhibited work and performed in numerous art spaces, been engaged in collaborative art projects, collectives and community-based projects in Switzerland and abroad.
Zoë Binetti (*1983) lives and works in Bern. She completed her MA in Contemporary Art Practices at the Bern University of the Arts in summer 2020. She runs the Sinnestheaterstudio in Bern - a research center for sensory theatre and queer-animistic performance art. She develops her dance theatre and music performances there. Her work is influenced by a versatile background in physical comedy, music, installation, dance, anarchism, shamanism and bodywork. She performs live as a solo artist and in various collaborations.
Milena Krstic lives and works in Bern CH as a journalist and musician. As Milena Patagônia she produces crude RnB with Swiss German lyrics. She is also the vocalist of the dialect duo Cruise Ship Misery with the author Sarah Elena Müller (lyrics, keys). In 2018, she was awarded the "Coup de Coeur" prize for young musicians by the canton of Bern. She has just completed her Bachelor in Sound Arts at the Bern University of the Arts in 2020 and is now focusing on building her own recording studio.
Close Distance : Covidiality Tranche de macaque Eva Zornio
«Les primates, et notamment les êtres humains, sont des animaux sociaux dont le développement cognitif se nourrit des interactions avec les autres animaux de leur espèce. Détecter avec précision et comprendre la conduite intentionnelle des autres, anticiper leurs actions à venir et ajuster de manière corrélative notre propre comportement sont des capacités sociales fondamentales.» Vittorio Gallese, «La simulation incarnée et son rôle dans l’intersubjectivité», Les paradoxes de l’empathie, Paris, CNRS Alpha, 2011.
ALLA MATTINA APPENA ALZATA | SOUND EXHIBITION 1 - ON CANALE MILVA (Side project of Close Distance : Covidiality, co-production with off spaces) A sound exhibition with works by Lula Broglio, Joo Young Hwang, Rada Koželj, Claire van Lubeek + Crowdpleaser, curated by Giada Olivotto & Camilla Paolino. A co-production of Lumpen Station & one gee in fog.
The first sound exhibition of the column Alla mattina appena alzata gathers a series of new productions by Lula Broglio, Joo Young Hwang, Rada Koželj and Claire van Lubeek + Crowdpleaser. The conceptual framework of this exhibition project is set by an Italian popular song of protest that has become an emblem of resistance in different liberation struggles, fought at different moments in history : Bella ciao.
The most famous version of the song is the one that accompanied and powered the partisan antifascist resistance, resounding in the wake of WWII. Ever since, the partisans’ Bella ciao has circulated to the point of becoming world-wide famous―as shown by the gesture of the Kurdish women fighters recently singing it in Kobane against Erdogan’s government, or by the diffusion of its notes from Smirne’s minarets in the spring of 2020. Its current re-appropriation by the cult Netflix series Casa de papel increased its popularity even further, favoring transgenerational encounters with its melody and lyrics, and turning it into a contemporary cultural phenomenon.
Much less known is the original version of the song, sang by the Italian singer Milva in 1971, during a performance broadcasted on RAI1. As Milva explains, this version of Bella ciao dates back to the XIX century, when it used to besung by Italian women workers employed in the paddy field (mondine or rice weeders), in order to support the rhythm of their own labor while denouncing its poor conditions. The rice weeders’ Bella ciao introduces the question of women’s work and its exploitation, reconnecting the notions of resistance and liberation to that of labor. Yet, this version of the song has mainly disappeared from the records of popular culture and from the narratives of capital-H History, together with the experiences of those who used to sing it.
Through this exhibition project―hosted within the sonic and conceptual architecture that the rice weeders’ Bella ciao constitutes―we intended to unearth and expand such genealogy, shedding light on the forgotten experiences of these women and of many other women workers, who protested against oppression and exploitation by means of singing.Women's labor, liberation movements and resistance aren't but a few of the questions Milva raises by singing the rice weeders’ song of protest. The featured works by artists Lula Broglio, Joo Young Hwang, Rada Koželj and Claire van Lubeek + Crowdpleaser touch upon these and other questions, taking Milva’s performance as a starting point to investigate their entanglements and expand their scopes towards different horizons of voicing, listening and thinking.
CLAIRE VAN LUBEEK + CROWDPLEASER, POCKETS OF SILENCE, 19m34s, 2020 Our listening begins with Pockets of silence, a new production by Dutch artist Claire van Lubeek and sound artist and dj Crowdpleaser, which takes us for a mental walk through an urban soundscape led by the pace of a stranger. As we listen, we realize it’s a woman walking on her own, under the rain, perhaps at night. Some latent sense of danger grips us more and more, growing as the sonic narrative unravels. Her syncopated and nervous stride gives rhythm to our drift. When the melody of Forest screams resounds, finally breaking the tension, we know it’s for her. A sort of inner chant, something magical, apotropaic, sheltering her and warding off danger. As a lullaby, it serves her to resist to the threats of the night and to protect herself during her solo walk in search for some pockets of silence.
(Ref voice sample 1: Sylvia Federici, The globalization of women's work and the new forms of violence against women | Ref voice sample 2: Simon Schama’s Power of Art, Episode 8)
RADA KOŽELJ, BELLA CIAO! (ECCOMI QUI, GIULIA ZUCCHI, CAPISCO LA FORMA), 13m53s, 2020 We continue our listening on CANALE MILVA with the work of Italian artist Rada Koželj, who indirectly evokes the partisan version of Bella ciao by telling the story of someone the song addresses: partisan Giulia Zucchi. A woman, among many others, who chose to align to the antifascist resistance struggle, fighting in the forests surrounding Como. Giulia’s story is conveyed by means of singing and storytelling, voiced by the artist herself and centered not only on the moment of the struggle and on the regime’s defeat, but also on the lived experience of Giulia before the war began. This narration provides a peculiar perspective on the question of women labor. It opens a window both on the working activities and conditions available to working class women in 1930s Italy, and on the labor that resistance requires. The tripartite work is divided in the song Eccomi qui (Here I am), the story Giulia Zucchi, and the song Adesso ho capito la forma (Now I understand the form), and comes as “a tribute to the partisan fighter Giulia Zucchi and a serenade dedicated to anyone who doesn't feel their valiance recognized”. You can find more of the artist’s singing and performances on her Youtube channel Rada Koželj. (in the artist’s words)
JOO YOUNG HWANG, TINNITUS TOLD ME THINGS THAT DO US PART, 15m04s, 2020 Our listening continues with a work titled Tinnitus told me things that do us part by Korean artist Joo Young Hwang. Through different layers of sound and voices, the artist explores some derivatives of contemporary fascisms, guiding us through a reflection on current expressions of racism and sexism (“daily micro-racism practiced on women’s body”). The rhythm of the drums, which traditionally accompanies songs of protest uttered by Korean women in public demonstrations, evokes a form of resistance against oppressing conditions generating within male dominated environments. A rhythm that serves the artist to soothe and sustain herself during daily labor, or in ordinary moments of struggle, as a form of daily monologue. Within the frame set by the drums, the sound piece introduces stories and experiences that are partly personal, partly collected from existing sound pieces and interviews, discussing racism and pointing especially at the underestimated anti-Asian racist dynamics operating in Europe and in the United States. The sources of this work include interviews collected on the ENAR (the European Network Against Racism). These testimonies are linked together by the tinnitus: the proverbial whistle in the ear, that here becomes a conceptual tool and an aural medium to support the artist’s daily resistance. Joo Young Hwang sends her sonic reflections along from a rooftop garden run by elderly people in Seoul, from where she tackles the spreading of anti-Asian racist behavior amplified during and after the pandemics. (in the artist’s words)
LULA BROGLIO, DENTE AVVELENATO, 06m05s, 2020 The last listening is dedicated to the sound work of the Italian artist Lula Broglio, titled Dente Avvelenato (poisoned tooth). This piece emerges as a choral answer to the question posed by the artist to different interlocutors, namely: What is the soundtrack of your resistance? Or: What song was in your mind when you decided to say basta (enough)? The interweaving of songs, testimonies, tales, nursery rhymes and poems evokes the melodies and chants of anti-fascist resistance, coming as a counterpoint to the work of Rada Koželj.
Close distance : Covidiality Hommage à Blob, Nicola Genovese.
"When Andrea from Lumpen Station suggested me the idea of the mutant, I started to think about Blob. Blob it's a TV cult show that became a byword for Italy's popular culture. It was initiated by Enrico Ghezzi in 1989. Blob is a postmodern collage that has exposed the paradoxes of the Italian society simply using excerpts of television programs. The first track "Un galantuomo" (1974) is by Juri Camisasca. In the lyrics, he talks about rats running in his veins. It's the trigger point of the transformation, but then he needs to break his head with a hammer in order to let the rats running out. In an endless loop, the hybrid becomes the mutant, and then the mutant becomes the abject and then the abject becomes the exotic object and then a hybrid again. The combination of disgust and attraction is the most sophisticated form of marketing." Nicola Genovese, august 2020
Close Distance : Covidiality The clay ground's sound
Encounter between sound artist Julie Semoroz and visual artist Aline Morvan in their art studio during the Summer 2020. The two artists work the physical and sound material together and bring out a new material, the beginning of a collaboration between earth and sound.www.juliesemoroz.chwww.alinemorvan.com
Credits Artists : Aline Morvan & Julie Semoroz Recording session 6-7th July in Usine Parker, Geneva Mix and Sound creation in Atelier 4040 in Usine, Geneva in July 2020 Additional mix and mastering : Emma Souharce Duration : 24:32 min
Cover Photo : Elle s’épand, Aline Morvan, 2014 Faïence brune 200x180cm © Anne-Cécile Caillaud
Close Distance : Covidiality Opening a collaboration between Lumpen Station and art space Sonnenstube (Lugano)
Dopo una lunga pausa Sonnenstube è lieta di presentarvi : After a long break Sonnenstube is pleased to introduce you :
DEDICHE Con/with Anna Allenbach, Stefania Carlotti&Federico Capone, Mattia Angelini, Lorenzo Lunghi e/and Ambra Viviani
Una mostra sonora che inaugura SONO PANORAMA ovvero : la collaborazione fra Lumpen Station e Sonnenstube. A sound exhibition that inaugurates SONO PANORAMA namely : the collaboration between Lumpen Station and Sonnenstube.
Vi ricordate quando si facevano le dediche alla radio ? DEDICHE è il primo appuntamento espositivo sonoro interamente incentrato sulla pratica della “dedicheria”. Abbiamo chiesto a cinque artisti di lavorare pensando e dedicando un’opera sonora ad un amante, un animale o semplicemente ad un destinatario. Le opere nate da questo lavoro corale esprimono pienamente il desiderio da parte degli artisti di abitare il nostro nuovo spazio sonoro.
/You remember when they were making dedications on the radio ? DEDICHE is the first sound exhibition entirely focused on the practice of "dedicheria". We asked five artists to work thinking and dedicating a sound piece to a lover, to an animal or simply to a receiver. The works born from this choral work fully express the artists' desire to inhabit our new sound space.
Sonnenstube è un progetto di Giacomo Galletti, Giada Olivotto, Sandro Pianetti, Gabriel Stöckli e Gianmaria Zanda. /Sonnenstube is run by Giacomo Galletti, Giada Olivotto, Sandro Pianetti, Gabriel Stöckli and Gianmaria Zanda.
Close distance : Covidiality Self Confidence Meditation Emma Souharce
Méditation guidée spéciale confiance en soi pour personnages réels ou fictifs. L'occasion rêvée de questionner la légitimité des existences et d'étudier la valeur des objets d'études en traversant des paysages internes, externes, médiants, fumeux et poétiques.
Que ferais-tu si tu n'avais aucune peur ? Un parcours en forme de sieste, de l'apaisement au what-the-fuck.
Close Distance : Covidiality Gaël Bandelier, Gilles Furtwängler, Robert Machiri
0 Propos & CHI Lèche le sol, tendu ? / Tendu ? Lèche le sol. Juillet 2020
Lèche le sol, tendu ? / Tendu ? Lèche le sol, est un podcast conçu comme un split entre le groupe de poésie 0 Propos et le dj CHI. Un split intercontinental entre Lausanne et Johannesburg autour de la parole, de la voix, du message, de la répétition et du mot intelligible ou pas. Des perles musicales complètent l'ensemble.
Playlist 1. Mix CHI 10:35 (1. Akazehe par une jeune fille, Musique du Burundi, A Collection, 2. Anowaa, Wolomei, from the album Kunta Kunte, 3. Tony Allen, from the album Film of Life Tony wood featuring Kuku) 2. Secteur des jouets 13:23, 0 Propos 3. Mix CHI 8:45 (1. Leboko for Mpolokang, Tswana/Hurutshe, South Africa 2. Afro Super, Aiye-Keta-Third World ) 4. Alinéas B3, B4, 5:00, 0 Propos 5. Hahaha, 3:16, 0 Propos 6. Mix CHI 10:02 (1. He Baba Tambo (Tambo Our Father), Radio Freedom, 2. Rumbidzayi mambo, Thomas Mapfumo, Chimurenga for Justice, 3. I am a green Lamp, Okay Temiz/Johnny Dyani, Witch Doctors’ son, Yesil Fener) 7. Pour contre, 8:49, 0 Propos 8. Tu es propre désormais, 4:33, 0 Propos 9. Mix CHI 15:25 (1. Nan, Laura Mvura, The dreaming Room, 2. Boya ye, Boya yeh, Mbilia Bel, 3. Malinga, Kanda Bongo Man, Amour fou/crazy love) 10. Plaie plate, 10:07, 0 Propos
Biographies :
0 Propos Groupe lausannois de poésie hyperjective crée en 2020 par Gaël Bandelier & Gilles Furtwängler
MANIFESTE Un : Un titre n’est jamais trop long si c’est un bon titre. Deux : Je ne veux pas gâcher l’ambiance mais j’aimerais partir d’ici. Trois : En cours d’écriture.
Les titres présentés sur ce podcast sont tirés de Polyphonie téléphonique, Une série d’enregistrements réalisé à Lausanne entre le 24 mars et le 15 avril 2020 par 0 Propos. Matériel : 2 Skype et 2 Zoom Handy Recorder H4n Texte, composition, voix et arrangements : 0 Propos
Gaël Bandelier Auteur polygraphe curieux et sérendipiteux, Gaël Bandelier pratique plusieurs disciplines artistiques et scientifiques en autodidacte (poésie orale ; performance ; écriture narrative et théâtrale ; scénario ; bande dessinée ; livre d’artiste ; physique quantique ; biologie). Fasciné par les explorations de langages sonores, textuelles et visuelles et les systèmes de représentations artistiques, scientifiques et philosophiques, il pratique l’expérimentation, comme source de jeux, de découvertes formelles et d’ouvertures cosmiques. Il est l’auteur et le performer de nombreuses performances de poésie sonore et buccale, en solo, et en collaboration avec notamment Luc Müller, Nicolas Carrel, Gilles Furtwängler, Louis Schild, John Menoud, Benoît Moreau, l’EnsemBle baBel. Il est membre fondateur de l’association Poï, avec Alain Freudiger, qui organise des soirées autour de la poésie orale.
Gilles Furtwängler (1982) Vit et travaille à Lausanne et à Johannesburg. Diplomé de l'Ecole d'Art de Lausanne (ECAL) en 2006, il poursuit depuis un travail basé sur la communication. Tout est mis en forme pour une communication objective et abstraite, ironique et morale, définitivement poétique. Il a participé à de nombreuses expositions et présenté de nombreuses lectures et performances dans des institutions et espaces d'art en Suisse et à l'étranger. Membre de Centre d'art Circuit à Lausanne et du collectif Makrout Unité, il travaille avec la Galerie Skopia à Genève. www.skopia.ch. Une première monographie sur son travail est parue dans la collection Cahier d'artiste de Pro Helvetia en juin 2017, une deuxième en 2018, dans la collection Minimono des Edizioni Periferia. Lucerne/Poschiavo. Correspondant de *DUUU Radio, il co-produit et présente l'émission Revenir et Dire Ça créé en 2018. Attraper les spectateurs en leur parlant d'amour, d'abstraction et de paysage, les retenir avec des concepts, de la sexualité, de la morale, de la politique, les laisser partir avec des pulsions, des privilèges, du quotidien.
Robert Machiri Chi aka Chimurenga (Robert Machiri), est né en 1978 au Zimbabwe. Il est DJ et accumulateur d'objets, inspiré par sa collection de musique et par son intérêt pour les objets liés au son. Machiri vit à Johannesburg en Afrique du Sud. Son travail se situe à la croisée de deux pratiques : une pratique curatoriale ainsi qu'une production multidisciplinaire d’œuvres d’art qui s’appuient sur des discours décoloniaux présentés au travers d'une critique de l'apprentissage et du désapprentissage. Cette production est entrelacée de son, de musique et d’images. Son projet curatorial le plus notable, PUNGWE, est un projet interdisciplinaire qui met à l'honneur les musiques africaines et les relie à des discours et à des espaces liés au contexte de l’art contemporain.
Pungwe a participé à des travaux collaboratifs comme : PUNGWE NIGHTS, Listening to a listening at Pungwe et Sugar free /// Pungwe.
L'étude du pain - Boris Gétaz
Ce travail est le premier d’une série d’essais sonores en cours de réalisation. Le principe de ces essais est d’explorer le lien qui unit musique, son, discours, narration. L’idée de cet essai a émergé au début de la crise du coronavirus. Submergé par un torrent d’informations contradictoires et de polémiques stériles, bloqué dans un présent perpétuel, j’ai souhaité prendre de la distance et questionner le rapport qu’entretient l’homme avec les micro-organismes.
Cet essai ne vise en aucun cas l’exhaustivité. Il propose plutôt, par la juxtaposition d’éléments disparates, et parfois déconnectés, de nourrir une réflexion, d’introduire de manière sensible une histoire. La musique a pour base de longues improvisations visant à l’origine à créer trois ambiances différentes, auxquelles furent ajoutées des couches visant à la rendre d’avantage expressive, à la faire véritablement dialoguer avec le texte. La première partie aborde la maladie et la peur qui en découle, mais aussi la fermentation, technique ayant permis de conserver et d’enrichir les saveurs de notre nourriture avant même la découverte de l’agriculture.
Le deuxième a pour toile de fond l’hygiènisme et ses conséquences. De la découverte des bactéries, virus, vaccins, à l’utilité du lavage des mains, mais aussi de son influence sur l’urbanisme au XIXe et XXe siècle. Enfin, la dernière, la plus longue, est un dialogue de sourd, doublée d’une fuite en avant. Polémiques scientifiques, discours politiques aux accents guerriers, complotisme… Est-ce que le rappel du temps long des deux premières parties permet de questionner ces discours ? Ou au contraire, est-ce que l’ivresse induite par le flot continu empêche toute mise en perspective? Ou peut-être est-ce juste la nausée…
Sources : Joseph Patrick Byrne, Encyclopedia of the Black Deathhttps://nicrunicuit.com Wikipedia Youtube lemonde.fr www.retronews.fr
SparkSparkSpark Franziska Baumgartner, Rodrigo Toro Madrid and Sarina Scheidegger
During various jam sessions the artists Franziska Baumgartner, Rodrigo Toro Madrid and Sarina Scheidegger were experimenting with different forms and mechanisms of looping their material which was based on texts, recordings with a selfmade vinyl recorder and software generated sounds.The sound piece «SparkSparkSpark» is a composed compilation of several encounters during the last months, where the artists - each with their own device – were not only trying to explore the disposition of the loop with its variables and mutable character but were also recording and reproducing the sounds at the same time. The audience is invited to listen to this radio piece around sparkling moods and gigantic laughters.
Texts from the book «Tiene Palabras, Ella» by Ana Navas and Sarina Scheidegger
Hyena laughter from the video «Roxy, the hyena “laugh” loudly in front of her meal», by Maxime Dehaye
Titre : Désirs publics Discours refrains - avec des textes de Clara Schulmann, Edouard Louis, Maggie Nelson, Renaldo Arenas, Comité Invisible, Audre Lorde Auteurs : Lou Masduraud & Antoine Bellini Durée : 36 minutes 11 secondes
Quels désirs et quelles normes déterminent nos luttes et nos engagements ? Ce montage composée de lectures, de conversations fictionnelles et d'extraits de film propose une multitude de positions et de reflexions sur l'adolescence, l'identité, la dépression, l'impact du politique sur nos corps, la marginalité et la radicalité.
Close Distance : Covidiality WHISPERS IN A PARK Monica Germann…electronics / loops, voice, lyrics Brigitta Kobe aka Baboon…guitar, voice, lyrics
Within the landscape of a beautiful garden, Brigitta and Monica drift between fantasy, memories and reality. Singing birds, people walking and driving by as well as various noises lead them to question life and how to record it. Output one or two ? Are we in ? Can you hear us ?
Close Distance : Covidiality Les Duettes - A night journey from voice to voice
L’artiste San Keller s’associe au musicien/artiste Tom Huber pour déambuler dans la rue avec l’intention d'interpréter avec des inconnu·es des duos chantés. Le mode de production devient une performance qui se déroule pendant la nuit et se construit au fil de rencontres. Les chansons, souvent des grands classiques, sont ici interprétées de manière chaotique, sans suivre leur mélodie originale. C’est Tom Huber qui construit une bande son tandis que San Keller transporte ses partenaires de chants dans une libération de la voix.
L'enregistrement comprend des extraits de trois nuits de duos réalisés essentiellement à Bienne le 12 juin 2020 avec des extras enregistrés à Zurich et Berne.
Alive from Lokal-int: After Party Mix Guest: Elias aka James Blood
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int / Vernissage à domicile : Interview avec Rudolf Steiner, présentation de la publication «Ricochet»
Rudolf Steiner accepte l'invitation à venir à Lokal-int pour présenter sa dernière publication, un livre de photographies portant le titre de Ricochet. En parallèle à une interview spontanée à propos du processus créatif du livre avec Chri Frautschi, l'occasion d'avoir Rudolf permet de revenir sur la scène artistique biennoise, son histoire récente et peut-être ses origines.
Vernissage à domicile : Antoine Rubin, Fanny Krähenbühl
Invités à faire partie de la programmation de Lokal-int 2020 et présenter la pièce de théâtre «Petit Gazon», Fanny Krähenbühl et Antoine Rubin ont été reçus pour un vernissage à domicile sur lumpenstation.art. Avec Chri Frautschi, ils discutent en direct et de manière spontanée de leur projet et sur quoi il s'articule, tout en se donnant rendez-vous en 2021 pour une version mise à jour de la pièce de théâtre. On découvre que le «Petit Gazon» est un élément urbain typiquement suisse qu'il faut entretenir, parfois sans même l'utiliser, histoire de vivre dans un voisinage propre et beau à voir, mais qui manque peut-être un peu de vie.
Alive from Lokal-int / Vernissage à domicile : meet Eva Zornio et Julien Berberat
En résidence à espace libre Visarte BielBienne pendant 2 semaines à Bienne, les artistes Eva Zornio et Julien Berberat passent une soirée à Lokal-int en direct radio sur lumpensation.art. Après un moment brise glace, un échange de musiques et quelques confessions font démarer la soirée jusqu'à retourner sur les hits du début des années 2000.
Alive from Lokal-int / Vernissage à domicile : meet Eva Zornio et Julien Berberat
En résidence à espace libre Visarte BielBienne pendant 2 semaines à Bienne, les artistes Eva Zornio et Julien Berberat passent une soirée à Lokal-int en direct radio sur lumpensation.art. Après un moment brise glace, un échange de musiques et quelques confessions font démarer la soirée jusqu'à retourner sur les hits du début des années 2000.
Alive from Lokal-int: After Party Mix Guest: Maxime Hänsenberger, Zola "Potter"
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int: After Party Mix Guest: Maxime Hänsenberger, Zola "Potter"
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int: After Party Mix Guest: Maxime Hänsenberger, Zola "Potter"
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int / Vernissage à domicile : Effraction vacances, Emma Souharce, Julie Semoroz
En résidence à Saint-Imier à Drawings for la Dépendance, les artistes sonores Emma Souharce et Julie Semoroz sont descendues à Bienne le temps d'une émission radiophonique à Lokal-int, accompagnées de Jan Van Oordt. Sans vouloir présenter un travail précis, ce vernissage à domicile s'articule sur une discussion ouverte et un échange sur la période actuelle pour les artistes en général et surtout ceux et celles habitué·es à intervenir en public. La première partie de la soirée et les échanges entre les invité·es, Chri Frautschi et Andrea Marioni préparent l'atmosphère pour l'after party totalement réalisée avec des musiques de vinyls de la collection de Drawings for la Dépendance.
Alive from Lokal-int / Vernissage à domicile : Effraction vacances, Emma Souharce, Julie Semoroz
En résidence à Saint-Imier à Drawings for la Dépendance, les artistes sonores Emma Souharce et Julie Semoroz sont descendues à Bienne le temps d'une émission radiophonique à Lokal-int, accompagnées de Jan Van Oordt. Sans vouloir présenter un travail précis, ce vernissage à domicile s'articule sur une discussion ouverte et un échange sur la période actuelle pour les artistes en général et surtout ceux et celles habitué·es à intervenir en public. La première partie de la soirée et les échanges entre les invité·es, Chri Frautschi et Andrea Marioni préparent l'atmosphère pour l'after party totalement réalisée avec des musiques de vinyls de la collection de Drawings for la Dépendance.
Alive from Lokal-int / Vernissage à domicile : Effraction vacances, Emma Souharce, Julie Semoroz
En résidence à Saint-Imier à Drawings for la Dépendance, les artistes sonores Emma Souharce et Julie Semoroz sont descendues à Bienne le temps d'une émission radiophonique à Lokal-int, accompagnées de Jan Van Oordt. Sans vouloir présenter un travail précis, ce vernissage à domicile s'articule sur une discussion ouverte et un échange sur la période actuelle pour les artistes en général et surtout ceux et celles habitué·es à intervenir en public. La première partie de la soirée et les échanges entre les invité·es, Chri Frautschi et Andrea Marioni préparent l'atmosphère pour l'after party totalement réalisée avec des musiques de vinyls de la collection de Drawings for la Dépendance.
Porno Circuit Vol. 1une proposition de Sara Strasser Emission enregistrée en direct depuis le stade de la Gurzelen et réalisée en marge de la série de créations sonores Close Distance Covidiality.
Quel rapport entre la déchéance humaine, la consommation et le Porno ? Entre dégénérescence, possession, désir et le pouvoir, que devient le plaisir obscène de la chaire et sa fantaisie ? Sans débat, sans discussion, sans réponses, Porno Radio choisit le Son pour pénétrer l’univers envoûtant, humide et profond du fantasme.
Porno Circuit Vol. 1une proposition de Sara Strasser Emission enregistrée en direct depuis le stade de la Gurzelen et réalisée en marge de la série de créations sonores Close Distance Covidiality.
Quel rapport entre la déchéance humaine, la consommation et le Porno ? Entre dégénérescence, possession, désir et le pouvoir, que devient le plaisir obscène de la chaire et sa fantaisie ? Sans débat, sans discussion, sans réponses, Porno Radio choisit le Son pour pénétrer l’univers envoûtant, humide et profond du fantasme.
Alive from Lokal-int: After Party Mix Guest: Stude Yeah & Meta Marie Louise
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int: After Party Mix Guest: Stude Yeah & Meta Marie Louise
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int: After Party Mix Guest: Nathalie Imhof
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int: After Party Mix Guest: Nathalie Imhof
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int / Vernissage à domicile : Nora Lune «Rogue Voyage»
Pendant les premières semaines de confinement, Lumpen Station lance Operation Decameron dans la volonté de regrouper des compositions d'artistes et d'en faire des compilations. Simultanément, les émissions à Lokal-int deviennent régulières car personne ne sait quand les regroupements seront à nouveau possibles. Nora Lune propose alors de réaliser une pièce sonore qui pourrait faire office de travail artistique. Chri Frautschi et Andrea Marioni décident d'introduire ce travail en première partie d'émission et de présenter à la suite une playlist de Jean-Christophe Huguenin, qui devait faire découvrir ce soir-là son travail lors d'une exposition à Lokal-int.
Alive from Lokal-int: After Party Mix Guest: Nathalie Imhof
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int: After Party Mix Guest: Nicolas Raufaste
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int: After Party Mix Guest: Nicolas Raufaste
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Le syndrome du Bloom - workshop radio avec les étudiant·es de l’option construction HEAD Genève Coordination : Andrea Marioni, Marjorie Kapelusz, Luca Depietri Diffusion radio à Lokal-int le 2.04.2020 - Durée: 01:11:25 Participant·es : Antoine Bürcher, Rafeal Cunha Da Silva, Deniz Gül, Louis Karim Kagny, Gian Losinger, Laura Matsuzaki, Alex Sobral, Sibylle Volken, Elsa Wagner, Lorenz Wernli, Elisa Wyss co-production : Lumpen Station, Lokal-int
Le syndrome du Bloom Andrea Marioni, Luca Depietri, Marjorie Kapelusz Option Construction, HEAD-Genève
Les abandonné.e.s.x (litt. les mis au ban) du monde développent de nouvelles stratégies ou dynamiques qui, non seulement répondent à leur nécessités (économiques, affectives, relationnelles) mais qui génèrent de nouvelles formes, de nouvelles esthétiques par l’usage tout à fait différent des ressources à disposition.
Dans cette période de confinement face au Covid19, nous sommes tous et toutes devenu·es, du jour au lendemain, des abandonné.e.s.x du monde, nous obligeant à rester chez nous, en limitant les relations sociales.
Le workshop prévu avec les étudiant·es de l’option Construction dans l’ancien stade de la Gurzelen occupé par des associations, subit une mutation pour devenir une compilation de créations sonores diffusées sur lumpenstation.art dans le cadre de «l’opération Decameron» lancée par Andrea Marioni actuel artist run space d’espace libre Visarte Biel/Bienne.
Le workshop, qui se voulait une exploration de formes d’arts possibles «dans les ruines du capitalisme» en récoltant des théories de manière transversale, c’est à dire provenant de théories scientifiques, anthropologiques, philosophiques et sociologiques, se propose d’inviter les étudiant·es à construire une forme sonore, tout en se pliant aux nouvelles contraintes contemporaines. Le Bloom est considéré autant pour son potentiel de manifeste écrit pas le collectif Tiqqun que pour sens littéral : «floraison» qui se manifeste au printemps, même dans celui que nous vivons.
L’issue de ce workshop «d’urgence» sera partagé lors d’un vernissage radio diffusé sur lumpenstation.art en direct jeudi 2 Avril 2020 à 20h.
Alive from Lokal-Int : After Party Mix co-hosted by Chri Frautschi & Andrea Marioni
SANS AUCUNE GARANTIE DE QUALITE SONORE, CHAOS ASSURE, WORK IN PROGRESS, DILETTANTISME, 100% DOCUMENTATION, PAROLE LIBRE, N'IMPORTE QUOI ET BONNE MUSIQUE
Alive from Lokal-int / Vernissage à domicile : Regina Düring, Christian Müller
Cette émission est la première de la série réalisée en collaboration entre Lokal-Int et espace libre Visarte BielBienne, pendant les premièrs jours de confinement en raison du Covid-19. A ce moment-là, les émissions sur lumpenstation.art à Lokal-int étaient complètement spontanées et il était impossible de savoir combien de fois un «vernissage à domicile» sous forme radiophonique allait être proposé. Regina Düring devait présenter ce jour-là une exposition dans les locaux de Lokal-int. Pour cette intervention radiophonique, l'artiste à décidé de présenter sous forme de performance sonore, en collaboration avec le musicien Christian Müller, des textes poétiques qui ont été lus en direct.
espace libre : residences, inauguration Lumpen Station, summer 2019 Jonathan Frigeri
Invité pour une semaine de résidence à espace libre et en tant que participant au programme estival d'inauguration de Lumpen Station, Jonathan Frigeri décide de présenter un live set au terrain de la Gurzelen, en produisant en temps réel une composition inédite à l'aide de ballons gonflé à l'hélium.
Jonatan Frigeri est engagé dans le radio art depuis plus d'une décennie et dirige lui même un programme de résidence d'artistes à Bruxelles Radio Pic-nic et participe à de nombreuses rencontres en lien à la création sonore radiodiffusée.
Poker Interview #3 : Thomas Hirschhorn
Pendant l'été 2019, Thomas Hirschhorn a réalisé l'oeuvre polymorphe «Robert Walser Skulptur» sur la place de la gare de la ville de Bienne. Engagé 12h par jour pendant presque de 4 mois, l'artiste accueille Lumpen Station lors d'un moment libre pour répondre aux questions et jouer au Poker Interview. Au fil des cartes, Thomas Hirschhorn développe certains aspects de sa pratique, stratégie et compromis ainsi que son approche à la pratique de l'art contemporain depuis plusieurs décennies.
espace libre : residences, inauguration Lumpen Station, summer 2019 Marion Guillet
Artiste et DJ de Paris, Marion Guillet fait partie du programme de résidences de l'été 2019 qui marque l'inauguration de Lumpen station et sa collaboration avec espace libre Visarte Biel/Bienne. Après une semaine de recherches sur place, Marion Guillet s'intéresse au festival d'échecs de Bienne et se penche sur le joueur mythique Bobby Fischer, qui après une carrière brillante dans le milieu des échecs, sombre dans la paranoïa et la folie.
Poker Interview #2 : San Keller
Cette interview avec San Keller a été réalisée dans la salle Poma du Centre Pasquart à Bienne. L'artiste pioche des cartes pour réaliser une série de Poker, chaque carte correspond à une question inhérente à plusieurs aspects de la carrière artistique : vie privé, stratégie, esthétique, marché de l'art...
espace libre : residences, inauguration Lumpen Station, summer 2019 Boris Getaz
Actif dans le milieu de la radio associative en tant que technicien, Boris Getaz a contribué pendant des années à la diffusion d'émissions de webradio au niveau local à Lausanne, canton de Vaud. Pour sa résidence à espace libre et sa participation au programme de résidences qui inaugure Lumpen Station, Boris Getaz vient en tant que compositeur de musique contemporaine, dont il suit actuellement un master à Londres. Sa création s'est construite in-situ avec des prise de son direct à Bienne, qui ont ensuite été modifiés et insérés dans un montage avec d'autres sources sonores.
Poker Interview #1 : Yan Duyvendak
Premier invité de cette série, Yan Duyvendak répond à des questions inhérentes à son parcours professionnel. Lors de ce entretien pilote, le système de cartes de Poker n'est pas encore mis en place et il s'agit davantage d'un dialogue ouvert et un échange où «les cartes sont mises sur la table» sans filtre.