Projects

SULL’AZIONE SALUTARE DEL MAGNETISMO ANIMALE E DELLA MUSICA (ON THE HEALING EFFECT OF ANIMAL MAGNETISM AND MUSIC)

Conceived for some of the visitable areas of the Certosa Monumental Cemetery, the performance was born from the exchange of a series of suggestions that investigated the still, silent space of the cemetery as a place vibrant with particular forms of information. Among the figures observed, Anna Bonazinga D’Amigo and Pietro D’Amato, she a psychic, somnambulist and healer, he founder of the Società Magnetica d’Italia, both renowned practitioners of mesmerism, have contributed to a cognitive approach based on the possible relationships and material transmissions between the different entities, mineral, vegetable and animal, that inhabit the cemetery.

In this context, the artists have invited the dancer and choreographer Cristina Kristal Rizzo to relate to the environment they have conceived, in an attempt to take their intuitions elsewhere, thanks to the language and body sensitivity of another authorship.

Special guest Cristina Kristal Rizzo.
Thanks to Caned Icoda.
Curated by Caterina Molteni, promoted by Istituzione Bologna Musei, MAMbo, Museo Civico del Risorgimento in collaboration with Bologna Servizi Cimiteriali  

Supported by the Virtual Partner Residency, Goethe Instiute. 

Past Projects:

Native Instrument (2015 -2019) (Shelter Press / Entr’acte) Lo-fi bug beats, field recording and voice adaptation with Stine Javin Joh.

Plants and Animalia (C.E.S vs. Felicity Mangan) (2017-19)

Christina Ertl-Shirley vs Felicity Mangan – Labor Sonor 23.10.17 from Felicity Mangan on Vimeo.

Plants and Animalia (CES and Felicity Mangan) brings together both artists’ personal investigation into the sound phenomena produced by plants and animals – through the combination of c.e.s. submerged sonification of plant biochemistry, deploying self-built synthesizers, to capture and sonify of the chemical composition of plants. Mangan explores the timbre and forms of found and self-recorded animal voices while mimicking biophonic patterns to create minimal quasi-bioacoustic environments, utilizing a sampler and sequencer. Together they create electro-acoustic compositions grafting field recordings, live and pre-recorded drones and pulses produced by remnants of plant biochemistry subterranean together with modified animal voices embedded in a bioacoustic sphere of synthetic and oscillating hybrids.