7 > 10 September | 5 - 11 pm
La Pelanda | Atelier

daily listenings

free entry

RADIO THAT MATTERS – Resistant reverberation

stanza acustica per un ascolto comune

Acoustic Room For a Common Listening

curated by Giulia Crisci

In the space of the Mattatoio’s Pelanda, Short Theatre 2023 opens up an “acoustic room” as an invitation to collective and singular listening, as practice of attention, as exercise in tuning, reverberation and resonance with others. The four days of multivocal and polyphonic programming address the concept of Acoustic Justice (Brandon LaBelle) as partition of the audible and sound redistribution.
Who and what can really be heard? Which voices manage to emerge in the daily panphony? How do these emissions impact on processes of self-determination? What is the relationship between sound and accessibility? Sound is conceived as a relational medium, capable of generating or accompanying affective, resistance and reciprocity dynamics.
The programme features sound works, voices from collective processes, militant realities or silenced spaces.
Heterogeneous languages from different geographies and spatialities coexist, without passing through the filter of translation for an acoustic training beyond the semantic.
The ‘acoustic room’ offers a space for decompression, in which to experiment unconstrained, unruly body postures for deep listening.

Each day starts with a live conversation in which artists and theoreticians discuss listening and its political value.

  • 7 September 8 pm  ∴ live conversation with Ilenia Caleo & Silvia Calderoni
  • 8 September 5 pm ∴ live conversation with Silke Huysmans & Hannes Dereere
  • 8 settembre ore 19.40 ∴ live conversation with Movimento Giovani per Save the Children
  • 9 September 5 pm ∴ live conversation with Maria Nadotti
  • 10 September 5 pm ∴ live conversation with Laboratorio Permanente Sonodramma

 

The programming is created in alliance with other radio projects and platforms dedicated to sound creation, among others Radio Commons, Radio Papesse, Firefly Frequencies, Radio La Colifata, Fango Radio.


DAILY PROGRAM:

Brandon LaBelle | Acoustic Justice (2023)
4′46” (excerpt), English

∴ HOLEY SPACE ∴


This section is dedicated to the experimental relationship between sound and space. Space as a co-author in the vocal and acoustic experience, as an urban journey, as a mobile and diasporic or liminal entity, and as a proximity research to inaccessible and inaudible geographies.

Alessandro Bosetti | Quella sera (2023)
3’54”, Italian

Anna Raimondo | New boundaries of the well-being of vaginal ecosystem #1 Rome (2017)
5’58” (excerpt), Italian

Nicola Di Croce | Il mondo di sotto (2017)
8’49” (excerpt), sounds, published on Fango Radio

Andrius Arutiunian | Armen (2016)
9’37” (excerpt), sounds, published on Radio Papesse

Elena Pugliese | Chiusi Fuori. Storia numero 1 (2022)
8’12”, Italian

∴ DISTRIBUTION OF THE HEARD ∴


According to Jacques Rancière, politics has as its object what can be seen or what can be said. For Brandon LaBelle, the centre is instead what can be heard. This section is devoted to radio practices and dramaturgies for radio waves that have\emerged from collective, militant or artistic processes, in which self-determination, emancipation and subjectivation contribute to the construction of new ecologies of listening, as forms of recognition.

 

Radio La Colifata | La normalidad y la seriedad (dal 1991)
4’15” (excerpt), Spanish

Maya Ouabadi | Petite histoire d’engagement et des voix (2020)
30′, French and Arabic, published on Radio Commons

Radio Ghetto | Voci Libere (2016)
15′ (excerpts), selection by Alessandra Ferrini, Italian

Radio La Colifata | Psiquiatria Aforistica (dal 1991)
5’45” (excerpts), Spanish

∴ Beyond the Periphery of the Skin

Jasmina Metwaly | Bent Hanna (2018)
6’42”, Arabic, published on Radio Papesse

Dina Mohamed | The Body Kept the Score (2022)
12′, English, commissioned and produced by Dancing on the Edge

Sofia Jernberg | Bird (2016)
3′, sounds

Chiara Cecconello | Baculla (2023)
6’48” (excerpt), sounds/Italian, realised by °Spore°, residenze di ricerca dislocate

Alessandro Bosetti | Location series (2023)
4’10” (excerpt), English

Watch The Med Alarmphone | Chroniques àMer (2023)
11’ (excerpt), English

∴ ATTUNING | DETUNING ∴


This section is dedicated to gestures of tuning or detuning , desynchronisation with the other. Acoustics becomes a space for the formulation and articulation of collective actions, of rituals capable of resonating common desires. The phonic vibration is only part of an acoustic spectrum in which the echoes of organic, inorganic, dreamlike, phantasmic materials coexist.

Diana Lola Posani | Sound diary / First Encounter with the Silver Reverb (2023)
2’48’, sounds

Gaia Ginevra Giorgi | Haunt (2023)
9’36” (excerpt), sounds/Italian, Radio Raheem Episodio 3

Emilio Fantin – Per Huttner | The Sound of Sleep (2020)
7’30” (excerpt), English, published on Firefly Frequencies

Alessandro Bosetti | Evolvere (2022)
6′ (excerpt), Italian

Emilio Fantin | This earth is a flower (2001)
7’35” (excerpts), English, published on An archive of Dreams su Firefly Frequencies

Silvia Maglioni, Graeme Thomson, Nikolay Oleynikov, Alessandra Pomarico | Biosonic Assemblage (2023)
remix 10’ for the Acoustic room, sounds, published on Firefly Frequencies



Brandon LaBelle | Acoustic Justice (2023)
An excerpt from the lecture Acoustic Justice: Listening, Performativity, Community held by the artist and sound theorist in the spaces of Errant Bodies, Berlin, as part of the Radio That Matters project. His words introduce the experience of the acoustic room, drawing trajectories and political implications of sound between Acoustic Justice and the right to listen. Focusing on what we can or cannot listen to, revealing what manifests itself beyond the boundaries imposed by ‘regimes of aurality’ operating under the radar.


Alessandro Bosetti | Quella sera (2023)
The work is part of the artist’s extensive research into the relationship between music and language, with particular focus on the voice. Here he presents a hybrid narrative between vocal and linguistic elements typical of the fairytale and the introduction of ‘anomalous’ characters: namely chords (harmonic relationships). Without name or gender, the only way to evoke them is to recognise them in the relationship they activate between frequencies.
Quella sera is the first short experiment in a series of works on harmony in relation to subjective experience and memory.


Anna Raimondo | New boundaries of the well-being of vaginal ecosystem #1 Rome (2017)
The first episode of a site-specific research devoted to urban space and the female tactics to inhabit it is dedicated to Rome. The project has then involved other cities, questioning the relationship between space, gender, social behaviour, power, education, focusing on the daily lives of women. The artist asks a heterogeneous group of women to describe the city through the emotions generated by the spaces they inhabit, by memories, stories and history. An action that remaps the city, through an emotional geography mediated by the subjectivity of each voice.


Nicola Di Croce | Il mondo di sotto (2017)
Released in Galaverna, it was initially conceived as an audiovisual essay in collaboration  with the director Chiara Caterina, as a result of a profound exploration of Basilicata: from the high mountains of the Pollino to the underground world of the mines in Val d’Agri, 100 metres below the surface of the earth. It is a sort of initiation rite into the residuality and liminality of a rural region in Southern Italy, following the echoes of the suggestions evoked by literary works such as Christ Stopped at Eboli and Magic: A Theory From The South. At the same time it opens up to critical themes such as offshore oil drilling, exploitation and colonial processes.


Andrius Arutiunian | Armen (2016)
It is a study on vernacular Armenian disco music. Based on a personal collection of diasporic Armenian music publications (in the form of cassettes, vinyl and VHS tapes), it is a recomposition, remix and speculative investigation of alternative sound histories. Each track shares a certain nostalgia with the others and all borrow many elements from traditional Armenian music. This Armenian sound and feeling is broken down and reconstructed into an altered narrative that meets noise and glitch. Armen was initially released as a limited edition and has since been exhibited as a sound installation and performance.


Elena Pugliese | Chiusi Fuori. Storia numero 1 (2022)
Workshop coordination Raffaella Mossetto, CPIA1 Paulo Freire. With the collaboration of the Penitentiary Administration of Casa Circordariale Lorusso and Cutugno Turin.
Narrative editing and voices: Elena Pugliese and CPIA1 Paulo Freire students

The audio story is the result of a collective writing workshop conducted with a group of adult school students. The story seems to introduce the day-to-day life and habits of a detained person, but in reality, it reveals the daily experiences of a plurality of people, whose stories remain largely inaccessible and often incommunicable outside prison. This is a narrative expedient, a misunderstanding sought in order to challenge stereotypes that want to reduce multiplicity to a simplistic and incomplete vision, with the risk of being locked inside a single story.


Radio La Colifata | La normalidad y la seriedad (dal 1991)
A selection from the archives of LT 22 ‘Radio La Colifata’, an Argentinian radio station broadcasting directly from the garden of the José Borda Psychiatric Hospital in Buenos Aires. The radio station’s name is derived from the word ‘colifato’, which in the capital’s dialect means ‘mad’, ‘crazy’.  Active since 1991, it is run by patients and former residents of a psychiatric institution. It began as an experiment in non-pharmacological therapy, to try out alternative forms of cure that would break through the walls of forced or chemical internment.


Maya Ouabadi | Petite histoire d’engagement et des voix (2020)
A sound narrative in which voice embodies the possibility of speaking out, of existing in the modulation of protest, in broadcasting news on radio frequencies beyond censorship, in organising revolution. Oubadi takes us on a journey that weaves together episodes from recent Algerian history, through radio events, starting with a juxtaposition between Danilo Dolci in Sicily and Frantz Fanon in Algeria in their use of radio as a fighting tool. Radio and voice weave the warp of a collective and polyphonic narrative, leading up to the 2019 revolution – Hirak – to the need to be heard in asserting democratic and feminist demands.


Radio Ghetto | Voci Libere (2016)
Founded in 2012, it is a ‘participatory communication’ project. It is a radio station created by the inhabitants of the Gran Ghetto of Rignano, in the province of Foggia (Puglia, Italy). Until its closure on 3 March 2017, the Ghetto housed up to 2500 migrants mainly from West Africa. It was one of the many shantytowns in the Italian countryside, where labour exploitation and poor living conditions generate forms of new slavery. Through radio broadcasts, the pickers of the Gran Ghetto shared their experiences and amplified the scope of their struggles.
The selection of excerpts presented was part of Italian artist Alessandra Ferrini’s 2016 work, Radio Ghetto Relay.


Radio La Colifata | Psiquiatria Aforistica (dal 1991)
The second selection from the archives of LT 22 ‘Radio La Colifata’, an Argentinian radio station broadcasting directly from the garden of the José Borda Psychiatric Hospital in Buenos Aires. The radio station’s name is derived from the word ‘colifato’, which in the capital’s dialect means ‘mad’, ‘crazy’.  Active since 1991, it is run by patients and former residents of a psychiatric institution. It began as an experiment in non-pharmacological therapy, to try out alternative forms of cure that would break through the walls of forced or chemical internment.


Jasmina Metwaly | Bent Hanna (2018)
The starting point of this piece is an a-cappella rendition of Tulet Ya Mahla Nourha, one of the most popular song by Egyptian composer and singer Sayed Darwish. Written at the beginning of the 20th century it is a song about a girl who goes to milk the cows in the morning and that on her way is stopped by the glances and admiration of a boy. Metwaly is reclaiming her voice and her feminist position in a patriarchal tradition. She exposes her weakness, through the modulation of the voice, she finds her strength.


Dina Mohamed | The Body Kept the Score (2022)
Originally conceived as a soundwalk, the work is a traversal of the relationship between the artist’s body and walking. It questions how posture becomes a monument to experience, holding traces of experiences, privileges and processes of mourning and loss. The walk is an invitation to abandon self-pity or self-shame, to de-romanticise everyday activities and to look closer to see how privilege manifests itself, to understand how injustice acts on bodies and movement. The artist’s journey, between biography and Egyptian public history, reaffirms that walking is a privilege. It carries with it the influence of gender, nationality, sexual orientation, economic class, and levels of self-care.


Sofia Jernberg | Bird (2016)
All of the vocal research of experimental singer Sofia Jernberg focuses on the infinite articulations of the voice. Ancestral techniques such as the rhythms of Ethiopian lament are mixed with diplophonic singing. The artist moulds a wide range of vocal atmospheres, producing modulations in which the body turns out to be a musical instrument of prodigious power up to the threshold of the more-than-human: gurgles, trills, glottis strokes, crackles, buzzes, whistles, bleats, squeals merge into an unprecedented repertoire capable of bore holes in language.


Chiara Cecconello | Baculla (2023)
A sound extract from the homonymous performance for body-voice and live electronics created during a research residency at the Caldara del Bullicame in Viterbo. Baculla attempts to tune into the inaudible, into what is often ignored, not heard, in an acoustic environment. She activates an imaginary that explores the different forms of the oral cavity in relation to its surroundings. The Bullicame source becomes a co-composer: field recordings, acoustic interventions, non-verbal vocalisations, invented languages.


Alessandro Bosetti | Location series (2023)
The author asks passers-by to say the word ‘Here’ into the microphone. All recordings were made between 12 August and 30 October 2017 in Vicobarone (IT), Milan (IT), Marseille (FR), Porto (PT), Marseille (FR), Taipei (TW), Bologna (IT) and Lyon (FR).
The samples of these words, in different languages, mounted in sequence constitute a sound meditation that explores the locality of voice, experiencing how linguistic and geographical landscapes intertwine in complex ways and how each territory is constantly crossed in multiple directions by many living beings.


Watch The Med Alarmphone | Chroniques àMer (2023)
In this episode of a monthly podcast dedicated to migration issues and border politics, we listen to a dialogue that took place in Amsterdam on the sidelines of one of the activist network’s regular meetings. Inside a community kitchen, a person from Watch The Med Alarmphone dialogues with two queer people. The three met on Lesbos Island, Greece, within the Lesvos LGBTQI+ Refugee Solidarity collective, which exists since 2017 with the aim of creating a safe space for the queer community amidst the brutality of asylum procedures on the borders of Europe. This conversation reports the embodied experiences of queer subjectivities that have experienced migration and problematises its violence.


Diana Lola Posani | Sound diary / First Encounter with the Silver Reverb (2023)
A short improvisation resulting from the sound exploration of a cellar. Launching a couple of recalls with childlike curiosity to hear the behaviour of sound in space, a song begins with bright and harmonics sharp like a knife, and the voice takes on new forms. The author moves circularly in space, ritually generating a state of concentration and experiencing different perspectives as a listener of her own vocal emission. The proposed recording is the ultimate immersion in the relationship with the place: walking slowly, she uses her necklace-harmonica to activate the space, then stops and lets her voice follow the acoustic wave of what the ear has perceived.


Gaia Ginevra Giorgi | Haunt (2023)
Magnetic tapes, field-recordings, voices, lo-fi recordings, and sound scraps. Haunt is an impossible, phantasmic, necromantic archive: researched selections of tracks and fragments straddling sound-ecology and hauntological music. The composition/composing methodology here is based on the fragmentation and recombination of sound fragments, to produce new narratives, senses, and possible directions.


Emilio Fantin – Per Huttner | The Sound of Sleep (2020)
Fantin dedicates a long research to the common aspect of dreams and dreaming. He collaborates with Per Huttner on a series of performances for the sleeping/dreaming audience. The idea is that it is the dreamers who influence the performance, this is done by measuring their brain activity (EEG – electroencephalogram) during an entire night. The measurement is linked to devices that generate sounds, emit odours and produce light. The recorded sounds, as well as smells and lights, influence the sleeper. In this episode, Fantin and Hutter converse about how art can influence the dream dimension, offering a sound montage derived from Fantin’s measurement of dream activity.


Alessandro Bosetti | Evolvere (2022)
Bosetti guides the audience through an immersive harmonic-grammatic meditation made up of garlands of verbs in free conjugation and enveloping generative harmonic flows that follow the evolution of this conjugation. As much the conjugation of the verb in a natural language as the modulation of a musical tonality generates energy fields capable of orienting music or speech in a particular direction: the same speech conjugated to the first-person singular present, rather than to the third-person plural future, carries different energy charges and points the needle of its grammatical compass in different directions. Similarly, a differently harmonised musical passage changes colour and direction according to the changing constellation of intervals surrounding it.


Emilio Fantin | This earth is a flower (2001)
A series of dream journeys rooted in a long-term practice on how one can experience a development of dream life and an engagement in the dreams of others. Seeking to create the conditions for a dialectical interaction between different types of knowledge, the artist invites people to share, in the ‘non-geographical zone’ of sleep and dreaming, a space in which intense dynamics of exchange can arise, with the aim of investigating ‘the social aspect of dreams’ – those special and hidden ties that are activated in the life of a community.


Silvia Maglioni, Graeme Thomson, Nikolay Oleynikov, Alessandra Pomarico | Biosonic Assemblage (2023)
With this re-mix specially made for RIVERBERI RESISTENTI, Stanza Acustica, Firefly Frequencies proposes a journey through four different soundscapes: the forest of La Gomera, the Etna volcano, the Russian taiga and the Adriatic Sea. An invitation to slow down and immerse oneself in electroacoustic presences and crossings that together weave a multidimensional sound fabric.


in the frame of the European project RADIO THAT MATTERS funded by European Union
in the frame of the project Insieme Siamo Arte 2023 realised by Città Metropolitana di Roma Capitale and ATCL


BIOGRAFIE

Brandon LaBelle is an American artist, writer and theorist based in Berlin. His work focuses on sound agentivity, community practices, pirate culture and aesthetics. In 2021, he founded The Listening Biennial and its Academy, of which he is artistic director. In the same year, he also launched The Pirate Academy, an experimental educational platform focusing on collective poetic and pedagogical practices. In 1995, he created Errant Bodies Press, an independent publishing project dedicated to sound art and performativity, artistic research and contemporary political thought.

Alessandro Bosetti is a composer and sound artist with a particular interest in the musicality of language and in the voice, conceived as an autonomous object and an instrument of expression. He builds devices often linked to the radio medium and to a tireless reflection on the relationships between music and language, questioning aesthetic categories and listening postures. He has received commissions from prestigious festivals such as the Festival d’Automne in Paris, the Eclat festival in Stuttgart, the Musiques festival in Marseille.

Anna Raimondo is an artis based in Brussels and works internationally. She uses voice and listening as a platform for encounter, collaboration and exchange, as tools for the diffraction of identity. Questioning the limits between private and public, between genders and their connotations. She completed an MA in Sound Arts at the London College of Communication and runs a practice-based Phd between Arba (Royale Académie de Beaux Arts) and ULB University in Brussels. She has participated in several international solo and collective exhibitions including: Biennale Nova at The Centre Wallonie-Bruxelles International in Paris (FR); Fluxus at Hangar Bicocca in Milan; Io dico Io at the Galleria Nazionale Roma ; manifesta13 Marseille in 2020 .

Nicola Di Croce is an architect, musician, sound artist, and researcher. He holds a PhD at Università Iuav di Venezia, Italy, where he is currently Marie Sklodowska-Curie Fellow as well as in McGill University, Montreal. His research deals with the relationship between Urban Studies and Sound Studies; he is interested in sound-based, qualitative, participatory and creative approaches to urban policy analysis and design. He considers relational sound art practice and sound-oriented methodologies as meaningful tools to improve the livability and inclusiveness of public space and promote social change.

Andrius Arutiunian is an Armenian-Lithuanian artist based in the Hague in The Netherlands. He works with sound and hybrid forms of media, with a particular interest in the politics of sound and technologies, sonic artifacts and shifting identities. Recent shows and performances include ZKM | Hertz Lab, Karlsruhe (2020), Stedelijk Museum, Amsterdam (2019), documenta 14, Parliament of Bodies, Kassel (2017), Contemporary Art Centre, Vilnius (2017), deSingel, Antwerp (2017).

Elena Pugliese is a dramaturg and an artist. Her writing and research work exists in different forms and contexts and focuses around themes such as material and immaterial legacies, memory, self-narration and the poetics of the everyday, archives as resources for the contemporary. She conducts autobiographical writing workshops and experiential practices, in order to foster collective participation.

La Colifata is a nonprofit NGO called Asociación Civil “La Colifata, Salud Mental y Comunicación,” which develops activities in the field of research and provides services in the field of mental health by using media to create health spaces. It is commonly known as LT 22 Radio “La Colifata” and is the first radio station in the world to broadcast from a neuropsychiatric hospital.

Maya Ouabadi is a publisher based in Algiers. After studying French literature and publishing, she joined the Barzakh publishing house, contributing on numerous novel and essay projects as an editor. In 2018, she founded Motifs Editions, which publishes, among others, the bilingual (French-Arabic) journals Fassl, a literary criticism journal and La Place, a feminist journal. In partnership with Archiveboks (Berlin), she is conducting a research and publishing project on writings on cinema in Arab countries in the post-independence period.

Radio Ghetto is a participatory radio project of the communities living in the countryside of the Foggia countryside. Created in the summer of 2012 on the impulse of the Campagne in Lotta Network, the radio station brought all the necessary equipment to start broadcasting. Since then, Radio Ghetto has acted as an instrument of communication and debate for labourers. Until the summer of 2016, it broadcast mainly inside the Gran Ghetto of Rignano Garganico. After the eviction of the Gran Ghetto, the radio moved to the track in Borgo Mezzanone, south of Foggia.

Jasmina Metwaly is a Cairo-Berlin-based artist and filmmaker, born to a Polish mother and an Egyptian father. She is a co-founder of Mosireen collective. She is interested in working with people and their histories. In her pieces she uses different material including texts and archival material such as: scripts, drawings, lectures, manuals and images. Rooted in performance and theatre, her works focuses on process-based practices.

Dina A. Mohamed is an artist and a researcher with a cross-dispensary background who works through different mediums of video, performance and writing. Her works address themes such as Movement, Privilege, Class, Memory and Violence, where she often starts from the personal experience to explore the intersubjective, and relatable. She worked as a Human Rights lawyer in Cairo, before leaving the country and shifting her pass to art praxis. She is currently living in Amsterdam.

Sofia Jernberg is an experimental singer, improviser, and composer born in Ethiopia and grown up in Swedish. She is widely known for expanding the “instrumental” possibilities of the voice and is active both as soloist and in various bands. Jernberg studied jazz at Fridhems Folk High School and later at The Gotland School of Music Composition. In 2008, she received the Royal Swedish Academy of Music’s jazz award. Jernberg is the leader (together with the pianist Cecilia Persson) of the chamber jazz group Paavo. In 2008, the group received the “jazz group of the year” award from Swedish Radio. She is also working on the contemporary classical music scene, in which she serves as both singer and composer.

Chiara Cecconello is a sound artist and performer. In her practice, the body is an acoustic territory, an extended ear and vibrating matter that seeks ways of inhabiting the world through the immediacy of sounds. Her works range between performances and sound installations in which the relationships between sounds and places are explored, triggering polyphonies between the audible inaudible. She has presented her performances in various contexts, such as BASE (Milan), La Caienna (Vicenza) Ocean Space (Venice), Musik Installationen Nürnberg (Nuremberg).

Watch The Med Alarm Phone is a network of activists and volunteers, established in October 2014 in Europe and North Africa. It established a self-organised emergency number for migrants in distress in the Mediterranean Sea. It provides wider visibility to the SOS of people in distress. It documents, informs coast guards and, when necessary, mobilises additional rescue possibilities in real time. It has reached the different migration routes, extending to desert crossings. It produces annual reports, research and recently a series of podcasts to help disseminate correct information on migration issues and border consequences.

Diana Lola Posani is a sound artist, independent curator and certified facilitator of Pauline Oliveros’ Deep Listening. She currently works on the common space between sound and poetic imagery, through interdisciplinary works and sound poems. She performs internationally, writes in the magazine A Row of Trees, and in 2022 she debuted on Fango Radio with the podcast Kaikokaipuu. Her work was presented at Errant Sound (Berlin), at the Tsonami Sound Art Festival (Valparaiso), the I AM UNDONE festival (Oslo), NEXTONES festival (Val d’Ossola), at the MACRO museum (Rome).

Gaia Ginevra Giorgi is an artist, poet and researcher active transversally in the field of performing arts, develops practices and methodologies of investigation that integrate writing, sound, voice and electronic devices. She creates sound stories (Racconto Concreto w/ Demetrio Cecchitelli, Oceans 2021) and site-specific participatory performances. Co-curator of Walk so silently that the bottoms of your feet become ears (Fango Radio), she conceived and co-curated RADURA (Vertical Music, 2022). Co-founder and member of the EXTRAGARBO and Call Monica collectives.

Emilio Fantin is a performance artist. At the centre of his research is the creation and observation of interpersonal relationships in their most intimate, silent and mysterious aspect, which is revealed above all in the nocturnal and dreamlike dimension. He has exhibited in major art institutions, including: 49th Venice Biennale; Performa 07, New York; Le Magasin, Documenta XIII, Kassel. He is co-founder of the Lac o Le Mon Foundation.

Firefly Frequencies is a radio platform that brings together artists, writers, musicians, filmmakers, theorists and other collaborators from many different countries. The radio is conceived first and foremost a place of gathering where many voices can meet, mix, transform. A membrane, a communal body that perpetually reinvents itself through different modalities and temporalities, through the dimensions of creation and care and the shared powers of reception and receptivity.


Radio That Matters is a “Creative Europe” project conceived and curated by Short Theatre in partnership with two European festivals – Parallèle in Marseille and Baltic Circus in Helsinki – alongside Errant Sound in Berlin and PAV in Rome, and in collaboration with Radio Papesse of Florence and the Sant’Alessio di Savoia Institute – Margherita di Savoia. The project includes a research path in the field of performative formats related to audio and sound, and in the field of practice and experimentation of forms of accessibility in the area of live entertainment for people with visual impairments.