06-09-2025 / 03-11-2025
Curated By Arianna Rosica and Gianluca Riccio.
exhibition link
28-09-2024
live-set link
21-09 / 15-12-2024
The idea at the core of this project was how to make these two realms communicate despite the fact that they have always been quite distant from each other, in conflict at times, and rarely, able to engage in a “friendly” dialogue on equal terms.
The software Real Time has precisely the task of creating such a dialogue. Developed together with LIM, the Laboratory of Musical Informatics of the Statale University of Milan, it aspires to act as a super-consciousness that is tasked with the role of relating the natural acoustic landscape to the human process of writing scores.
How does all of this happen? It begins with a microphone recording that is read by the software which contains a pre-loaded track, a score, which then acts as if it were doing rhythm training exercises (e.g. solfeggio) in real time. When the software recognises that there is a sound in the acoustic environment, a noise that has a frequency close to a known one, then it uses this proximal note.
Differently from what one would expect, no pre-sampling or machine learning devices are employed to investigate the soundscape. In this sense, it is a software that denies itself.
In the gallery’s garden shed, I installed a sound sculpture that I called Joog Box. The word “Joog”derives from the Creole, and it means “noisy”, or “messy”. Thus, it matches the results returned by the real time software which also works within the sculpture, the content of which is related to the composers of the Venetian school. The object itself is made of super-mirrored steel.
It, therefore, mirrors the outer environment. With this work I wanted to further underline the visual relationship at the core of the work: the clash of anthropic culture with nature, which is here embodied by the dialogues of the trees, the garden, the lawn, the musical score, and the compositions contained within the various tracks.
(Alessio de Girolamo)
Curated by Manuela Lietti.
08-03 / 28-05-2024
The first presentation takes place at the Linea Project gallery spaces in Lecce, Italy.
Curated by Alice Caracciolo and Marco Vitale.
original soundtrack
exhibition link
Details in the crowded symbolism of the tarot are totemized on a musical score and aligned on a staff line.
(Ermanno Cristini)
Curated by Ermanno Cristini.
original soundtrack
tarot cards, presenting twenty-two images which are “constructed” on a musical staff and made up of corresponding chords of three notes each, which can be listened to online in succession.
Continuing my work with alphabets and numbers, here I explore the arcane code of the tarot, transforming visual details into fundamental structures that are scaled up to fill the entire staff paper, sometimes producing Escher-like figures. For the composition, I drew inspiration not only from the divinatory art of tarot, but also from Aleksandr Nikolayevich Scriabin and his “mystic” chord: a succession of notes conceived by the Russian composer and pianist both as a harmonic foundation and as a key to reading the Divine in the symphonic poem Prometheus: The Poem of Fire. By sampling the wind, the quintessential invisible element, I synthesized a digital instrument similar to an organ with which I performed the soundtrack.
(Alessio de Girolamo)
Curated by Daniele Perra.
28–09–2020 / 10-10-2020
by Alessio de Girolamo. The SCIC project, curated by Irene Biolchini, carries forward an ideal of innovative contamination starting from 2019 when the design company launched a national concept to invite the best Italian artists to dialogue with the creative heights of contemporary furniture design.
To create a massive wall-painting, Alessio de Girolamo erased for three days the lines of an impossible staff, a mental space on a physical surface, a place haunted by the ghosts of infesting parrots. The parrots that took over Milan; the same ones that freely flew over it when we were all locked in eerily familiar spaces during the pandemic, trying to generate mental spaces. When everything stopped, even the ring road behind his house, Alessio noticed the background noises that emerged from that submerged continent which is any elsewhere: a mental space of minimal discourses and imagined sounds. He translated those emerging sounds into waves, songs, and poems.
Sound and imagination are the first manifestations of human creativity according to Vico. Atlantis anticipates the word. The erasure does not erase, does not rewrite, does not generate meaning: it moves, welcomes, and listens. Here, looking at the wall, listening to the submerged “Atlantis,” at the corner of our eye we see a sparkle: the glossy black of plate-letter-sculptures that stand out on the architecture, re-inhabiting it, LANGUAGE. The language rolls up into a spiral; it does not open to anything, does not allow access to further levels of knowledge. Passing through the arch, we re- immerse ourselves in the sound, in the scores, in the absence of a voice.
(Irene Biolchini)
Curated by Irene Biolchini.
16–06–2020 / 31-07-2020
Inside, we are surprised by echoes, reverberations, and distortions of strings, winds, and choirs.
Distant echoes bounce off the walls, swell into the void of large desolate rooms, or echo in endless fields where there is no one to absorb their power, nor any colorful frequencies to affect them.
In this landscape, rules, relationships, and meanings are shifted as if to reveal the fragility of an illusion that, once breached, returns the profile of the void to which it gives shape.
NAM (Not A Museum), Firenze, Italy
Curated By Caterina Taurelli Salimbeni e Mara Pizzinini.
exhibition link
NAM catalogue
30–09–2020 / 14-11-2020
background of the space, becoming the backdrop for the video documentation of the performance WONDER WATERS. The inscription, composed of the 12 letters arranged clockwise, combines with the hydrogen of the water, swept with brooms by the inhabitants of Valletta, causing the dissolution of the pigment and the consequent annihilation of the word. The act of cleaning
materializes in the purification of silence (Triton Square, Valletta, Malta, 2019).
Curated by Stefano Non.