Third Paradise Project
02/03/2011 – 03/03/2011 Maxii Roma
“The Third Paradise is the merging of the first and the second paradise. The first is the paradise in which life on earth is totally governed by nature. The second is the artificial paradise that, with exponential progression, pollutes, corrupts and corrodes the natural world giving birth to irreversible processes of extinction. This paradise is made up of artificial needs, artificial products, artificial commodities, artificial pleasures and every other form of artifice. The Third Paradise is the new myth that leads everyone to take personal responsibility in this particularly epoch-making period. The New Sign of Infinity draws three circles: the central one representing the womb of the Third Paradise.”
On March 2nd and 3rd 2011, at MAXXI in Rome, the official presentation of the “Third Paradise” project.
Fotocopiami la voce!
21/12/2009 – 21/12/2009
RAM radioartemobile continues its connection between visual art and sound.
On December 21st 2009, and for one day only, bunKerart, via Bellezza 8 Milan, RAM presented the exhibition of Gianna Nannini and Emilio Prini.
The works proposed by this exhibition are metaphors of the meeting between Gianna Nannini and Emilio Prini, one working in the world of music, the other in visual arts.
The sound installation by Gianna Nannini – in collaboration with Alberto Bettinetti – has the voice as its core theme. As Bettinetti claims, “the characteristics of a voice is the fact that it is immaterial.
A level of immateriality that clashes with the technical means of visual replication. This is the utopia of the voice, the central node of the sound installation: the voice fragmented and broken into its seventeen different sounds is multiplied, repeated and retransmitted. No equipment can actually capture its image. No images can, in turn, turn into Gianna’s unique voice. In a demonstration ad absurdum the voice confirms what the machine can not achieve. And perfect utopia is the result.”
The voice is untranslatable, it is a fragment of sound and existential times that overlap and oppose each other until they become an indelible mark of sound, a unique and unrepeatable wavelength. When this sound has its own irreplicable tone and style, it has an identity which belongs to a place, a space that cannot be inscribed. The voice blocks the emotion of a population in a song, but the voice you cannot see has the vision to see what Homer, in his hidden orality, emerges and places in the past: now is once upon a time, the past forgets the immortality of the voice which blocks its flow when recorded (Gianna Nannini)
I do not plan things, I try this and that, I don’t visualise the birth of art (or tragedy) because it is not simply the result of human work (because I did not make the chair the table the paper the pen I write with) I do not create, if possible. (Emilio Prini)
The standard in full possession of one’s dimensional faculties is whole in a global sense of the word. (Emilio Prini)
Our gratitude goes to Nicola Bramante and Anna Butticci for the work of Emilio Prini.
Mi meraviglio di me
29/02/2008 – 30/04/2008
As part of the “shape and sound” project, presented in Milan by RAM radioartemobil in the bunKerart space, getulio alviani and Gianna Nannini, two top class stars the former in visual art, the latter in music performing together, “Mi meraviglio di me”.
This is an unprecedented meeting between getulio alviani and Gianna Nannini who questioned themselves and us on the parameters and relations expressed by shape and sound, between matter and abstraction with subtle meanings, linguistically surprisingly similar, because they are clear and primary.
In the empty extension of bunKerart the work of Getulio Alviani “mirrored interrelation concave = convex” is suspended at eye height of an average person determines, with 6 elements of a semi-cylindrical shape in reflecting aluminium, a longitudinal and balanced pathway which has full and empty, convex and concave opposed elements. The visual structure is receptive to light which, as the visitor moves, is turned into and combined with ever-changing images, where the light sensor also has a sound whose vibrating materiality is in perfect relation to the same.
Gianna Nannini, on the other hand, is immersed in the bivalence of Alviani’s work proposing the essential dialectic with the superimposition of a “double vocal”. At each end of the work in fact, there are two separate sound sources reproducing on the one hand the recording of a Himba song – a nomadic group of the northern region of Namibia bordering with Angola – and the other with the voice of Nannini. For the mono-modality of the two channels of sound, the voices are pushed along a horizontal line where the sounds converge finding in Alviani’s work the perfect amplifier and meeting channel.
The work of Getulio Alviani, waives all metaphorical or mystifying meanings, and is based on antonyms and inversions but, at the same time, on the equalities from a practical and tangible viewpoint as far as doing is concerned. Gianna Nannini translates the meaning into music and experiments in dialectics from an anthropologist standpoint.
Getulio Alviani and Gianna Nannini “Mi meraviglio di me”, IL PALCOSCENICO VERTICALE 24th July – 9th september 2012 THEATRE OF FLORENCE OBIHALL Via Fabrizio de André 3 open daily 17.00- 23.00 pm
22/10/2007 – 22/12/2007
This work, created specially for the exhibition, combines visual art and sound. The common element linking the two interventions in the shape and sound project is abstraction, intended as a formal process. Carla Accardi, one of the most renowned abstract artists in Italy since the time of Form 1 (1947) to today, has constantly focused on innovation and research work that has made her one of the leading representatives of Italian art in throughout the world.
There has always been point blank refusal of art as a mirror of objective reality. “In art there is only the traditional and inventive side to pure shapes. Paintings and sculptures are presented as a means of expression of the plastic materials whose purpose is to create a harmony among pure shapes”. The horizontal floor traditionally explored by the artists of Action Painting in the United States now becomes a place of signs with this Ceramic Surfaces work of art. Gianna Nannini has gone about her career with the same determination, constantly experimenting with new sounds and languages which have led her to become an icon of Italian rock music. “Passi di Passaggio” marks a constant almost obsessive rhythm, giving the sound an abstract vision.
The sound vibrates on the horizontal surfaces and automatically generates a double female dialogue between sound and image.
In conjunction with the exhibition held by RAM at bunKerart, Carla Accardi will also have her own event at Galleria Seno in in Milan, where the artist will exhibit paintings specifically created for the occasion.
Ceramic Surfaces with sound processing by Gianna Nannini “Passi di Passaggio” – Milan, bunKerart – October 22, 2007 – December 22, 2007
Ceramic Surfaces – Moscow, Moscow Museum of Modern Art, 25 – 04 September 2008 – September 28, 2008
Carla Accardi: New Paintings and Ceramic Surfaces with sound processing by Gianna Nannini ” Passi di Passaggio ” – Sala Luis Miró Quesada Graland, Lima (Peru), 25 April 2009 – May 17, 2009
Carla Accardi: New Paintings and Ceramic Surfaces with sound processing by Gianna Nannini ” Passi di Passaggio ” – Italian Cultural Institute and the Italian Embassy in Buenos Aires, 10 February 2010 – February 28, 2010
Carla Accardi Pasos De Pasaje – With Sound Processing by Gianna Nannini, the Italian Cultural Institute in Cordoba, Av Poeta Lugones 411. June 3, 2010 – July 14, 2010
Carla Accardi “Superficie in ceramica” with the contribution of sound by Gianna Nannini “Passi di passaggio” , IL PALCOSCENICO VERTICALE 24th July – 9th september 2012 THEATRE OF FLORENCE OBIHALL Via Fabrizio de André 3 open daily 17.00- 23.00 pm
08/02/2007 – 19/05/2007
The works proposed at this exhibition is a collaboration between Gianna Nannini and Michelangelo Pistoletto, one being an exponent in the world of music, the other in the world of visual arts, which combines two disciplines and two different languages.
The installation includes the Orchestra di Stracci of Michelangelo Pistoletto and the “vocal sculpture” by Gianna Nannini entitled Mamma. The two works become entangled, a mixture, an embrace as they are conducted in harmony and sharing of thoughts. The Orchestra di Stracci, which are based on the works performed by Pistoletto in the sixties, designs the new sign of infinity, the symbol of the Third Paradise.
“The new sign of infinity crosses the line twice, drawing three circles. The central one depicts a pregnant belly, the product of the coupling of two circles that composed the old symbol. This belly represents the generation of the Third Paradise” (M. Pistoletto).
The two outer circles represent Nature and Artifice; two opposing poles that unite to fecundate the Third Paradise. This is the ultimate expression of sustainable coexistence between natural and artificial spheres. The central circle is the maternal womb of a new thought, which leads the humanity to survival.
The centre of the new sign of infinity is the ideal point crossed by the umbilical cord that unites past, present and future generations.
Gianna Nannini’s sound installation runs along the aluminium reflective surfaces surrounding the space, using the voice as a single instrument to create a “vocal sculpture”, a spatialisation of sound/voice that determines, defines and moulds the space itself. The “vocal sculpture” by Gianna Nannini allows the visitor to experience a total immersion in a voice in an emotional manner. The choice of aluminium, material chosen by Michelangelo Pistoletto to represent the concept of the Third Paradise as best as possible as it is a hi-tech and eco-friendly material which is also endlessly recyclable, falls within the collaboration between the Cittadellarte-Fondazione Pistoletto and CIAl, National committee for the recovery and recycling of Aluminium
The long solo of Nannini’s voice, with its harmonic tone is combined with the sound effect produced by the steaming kettles, played by the Orchestra di Stracci. The steam, in contact with the glass above it, condenses into raindrops that wet the rags, producing an olfactory effect.
The Third Paradise space at bunKerart is the result of an artistic collaboration which uses the relational aesthetics to promote a message of responsibility and change. Gianna Nannini’s music becomes a vehicle of communication to translate the concept expressed in the Third Paradise by Pistoletto into a myth.
Our thanks go to : CARB Certosa wines; Livio Felluga