PARDES LABORATORIO DI RICERCA D'ARTE CONTEMPORANEA
PARDES

PaRDeS
Laboratorio di Ricerca D’Arte Contemporanea

Concerto d’Arte Contemporanea
Associazione Culturale

Via Miranese 42 – 30035 Mirano (VE)




Arte cibo per la mente 2015
Energheia 2014
Arca 2013
Relativity 2012
Adamà Cantica per la terra 2011
Elevazioni permutazioni 2010
Percorsi interiori 2009
Anima del Suono 2009
Decennale CARTEC 2009
Astralia 2008
Paesaggi letterari 2007
Roseto dialettico 2007
Arte di sottobosco 2006
Enigma emozionante 2006
Alma planta 2005




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testo italiano



Anima del suono - the soul of the sound


10.05 – 12.07.2009


Curated by Maria Luisa Trevisan

PaRDeS – Laboratorio di Ricerca d’Arte Contemporanea
Via Miranese 42 - Mirano (VE)


Claudio Ambrosini Fernandez Arman Franco Armieri Davide Bertocchi Huguette
Blèzés Ariela Böhm Alessandro Cadamuro Alessandro Cardinale Giuseppe Chiari
Leonardo Cimolin Nicola Cisternino Barbara Codogno - Marcello Mauro - Enzo
Varriale Nadia Costantini Sonia Deotto Hélène Foata Silvio Gagno Cristina Gori
Enzo Guaricci Maura Israel Karpüseeler Jiri Kolar Ion Koman Jean-Pierre e
Tamara Landau Bruno Lucchi Mya Lurgo Maria Pia Michielon Riccardo Misto Aldo
Mondino Aldo Pallaro Renato Pengo Simone Racheli Christian Rainer & Karin
Andersen Tobia Ravà Claudio Ronco Sevn Oreste Sabadin Hana Silberstein Buci
Sopelsa Barbara Taboni Annamaria Targher Paolo Tommasini Alessandra Urso Cesare
Vignato Elisabetta Vignato Dania Zanotto Luciano Zarotti Zhou Zhi Wei


Opening on Sunday, 10th May at 4.00 PM with performances of Nicola
Cisternino, Sevn, Cesare Vignato, Claudio Ronco, Barbara Codogno-Marcello Mauro-
Enzo Varriale. Finissage on Sunday, 12th July at 6.00 PM with performances of
Jean-Pierre and Tamara Landau with Catherine Fava-Dauvergne (singing and
dancing) and of Eugenio Muner, Antonio Costanzo, Maria Luisa Trevisan, Myriam
Zerbi. Installations of Tobia Ravà.
Under the aegis of Provincia di Venezia, Assessorato alla Cultura, Comune di
Mirano, Assessorato alla Cultura, Fondazione Bevilacqua La Masa - Venezia.
Sponsored by Collalto Azienda Agricola Conte Collalto.
Collaborazioni: Martina Ballarin, Dario Bertocchi, Irene De Lorenzi,
Mariangela Gallo, Elena Menin, Emma Galzignato, Cinzia Testa.


During the exhibition we planned the following meeting:

To make an arc instrumen,t Friday 22nd May at 9.00 PM
Gino Canello, lute player of Crespano del Grappa, will present the
construction tecnique of an arc instrument. He will be accompanied by the
violinist Bazzichetto who will play "Aria sulla quarta corda di J.S.Bach" from
suite BWV 1068.


Vincent Van Gogh, Wednesday 27th may at 9.00 PM
Presentation of Giuseppe Cafiero's book (Editore Pacini, Pisa)The reading of
some passages performed by Donatella Medici will be accompanied by the sound of
a clarinet(Lara Panicucci), of a trombone and of a guitar (Silvio Bernardi) and
by some projections of some paintings, sketches and autographed letters of the
famous Dutch artist. It will be not a biography but a sort of story narrated
starting from ten women that the artist met in ten different cities.

Antonio Vivaldi, Fridayì 12th June at 9.00 PM.
Conversation with Federico Maria Sardelli about Antonio Vivaldi’s fortunes and misfortunes.
Francesco Fanna will talk about the rediscovery of Vivaldi in the 20th
century and Tiziano Scarpa will discuss on the novel Stabat Mater.
Presented by Giuseppe Bovo.

“Palindromic Deandrè” Thursday 25th June at 9.00 PM
We will reat the most beautiful and famous lyrics of Fabrizio De Andrè, in the originals palindromic versions realized by Riccardo Misto and presentation
of his book“Così dall’alto così dal basso – Palindromi amorose”, first
collection of palindromic lyrics. Interpreted by Donatella Medici.

Musical labyrinth. Harpsichord concert. Thursday 2nd July at 9.00 PM The musician Lia Levi Minzi terrà will play the musics of J. S. Bach. The harpsichord builder Giampaolo Plozner will talk about some aspects of this instrument and abuot the pieces played.

THE SOUL OF THE SOUND Maria Luisa Trevisan

"Just the music cause relief. The sound come out soft and velvety, the
instrument sings by itself. I watch with sadness this friendly violin and I am
convinced that it has a soul too."

Soul and sound have many affinities seeing that music is the most impalpable, ephemeral, abstract and airy art. One of the meanings of "anemos" is "wind, puff". The notes spread out in the air. The sound is closely related to that element and in the same way is related the soul, the most spiritual and undying
part in a human being, considered in a lot of philosophies the life principle of every living creature but it is also the centre of an arc instrument.

Douring this exhibition, the cultural association "Concerto d'Arte
Contemporanea", that this year celebrates its tenth anniversary from the ufficial foundation, joins multimedia and figurative artists, musicians, art critics, writers, curators, music experts and all the ones that work for the
diffusion of artistic and cultural values. In this way, the ones that share the ideals of universal harmony can contribute to make this concert a synphony.

In a child rhythm is innate. He learn to move linstening to his mother beats and the sounds that comes from the outside. The heart and its beats is a question that we treat as the first sound element that we learn to listen to so it is present in the exhibition in the three-dimensional and pictorial works of art (Taboni and Sopelsa) and in interactive perfomances that re-edit the pulsations trasforming them into music (Codogno-Mauro-Varriale). Music is rhythm, is sound alternate to pauses and you can do it with anything as we see
in Giovanni Sollima (We were trees) that plays a cello built with waste, assemblies of different materials, scraps, proposing a new frontier of trash.
There are musicians that play with mechanical parts of car (as in a note advertising) and others with fruits and vegetables. Musicians and contemporary composers play in situations at the limit, incredible and unthinkable until
today. Concerts at high altitude, also on Himalaya, unless 20 degrees or with instruments of ice. Tim Linhart (USA), sculptor and musician (in Sweden he has built an entire hotel made of ice), plays and sculpts musical instruments using thin layers of ice. The project, the only one in the world, has been done in 2007 in the Alps, in glacier of Val Senales South Tyrol, 3200 m under the sea level, executing a program of the highest level between classical music, jazz, ambient and ethnic music, transmitting unforgettable sensations. "Icemusic",
music that comes from ice or made of ice, has a problem that is the instrument melts and, so long as it sounds, you must throw on it bucket of water.

In the course of the time, music has been a model inspiration for a lot of artists. In Gothic architecture certain elements, in particular certain
columns, ringed as a bell and, traditionally, these were beatings to oust the evil, like the plague and the malignant spirits. In the Renaissance architects tried to find music proportions studing the works of the ancient masters.
Brunelleschi built palaces and churches in reference to unison, iapason, diapènte, diatèssaron, because also music is mathematics and geometry: harmony, an instrument of salvation that gives relief. Kandinsky in The spiritual in art combines geometry and colors to the sounds. In his writings it is confirmed the belief that the essence of the world and the beauty of the cosmos will reveal
in mathematics.

In the exhibition are exposed works created ad hoc, that through the sound also stimulate the other senses and relays various sensations and emotions, as the crying or laugh. Soul sound involves the sense of hearing, present in the work of Armieri, in the lightbox of Ravà where a big ear is built with the numbers of Fibonacci sequence or in the video of Christian Rainer & Karin Andersen where the same artists are transfomed into aliens. Other operations, performances, sculptures and environmental installations "site specific" stimulate the touch, the view, the sense of smell and the perception of the space, as in the androgine heads with the guardian of the temple (Lucchi), the image that evokes the sound of the crystal chandelier of Bohemia in the music room (Elisabetta Vignato), tunics with amulets, hanging as large sculptures- costume (Zanotto), keyboards of piano coats to the wind (Gori) and shamanic courses that produce the sound of the rods of bamboo (Zarotti). There are paintings and sculptures that represent musical harmonies, in the forms and in the colours (Foata, Gagno, Lurgo, Targher), with rhythms, frequencies and intervals that give life to a dance that in certain cases takes the aspect of a cosmic swarm. The sound as a metaphor of the existence emited by the voice and by the singing, by the steps of dance, by the clap of the hands and the body movements (Urso), by the wind rustling, by the leaves and by the branches, by insects (Codogno-Mauro), in a game played between artificial and natural: by the awakening of the nature and of human beings (Sevn), by glass (Cadamuro), by tubes (Karpüseeler), and elements in steel and polyethylene (Costantini), by the turn of a bicycle wheel (Sabadin), by e treel off of a film (Pengo).
The conceptual works of Claudio Ambrosini, that in 2007 wins the Leon D'Oro at the Biennale of Venice, show a work that comes to different results, always having in the center the experimentation and musical research. They are works based on the concept of visible soul of the sound connected with the idea of anemos.
"For example - as he explains - in Geometric negative progression: a rubber tube, wet with soapy water, is pierced according to the distance on a flute.
The air contain in a balloon places on the head of the tube, makes visible the difference in heights of the sounds. White noise is instead a typical ‘breath’ which in music is used for aesthetic reasons". There are paintings with musicians (Cardinale, Israel, Mondino, Silberstein), also with literal and poetic references to the sound (Landau and Ronco) or depicting musical instruments (Blèzés, Koman, Cesare Vignato, Zhou Zhi Wei). Works with pieces of guitar (Arman) or assemblages of real musical instruments: for exemple wind instruments with biblical references to trumpets of Jericho (Ravà), or combinations of guitars, trumpets and musical scores (Giuseppe Chiari) and a wax trumpet (Racheli). But also marble cds (Bertocchi), Il truffatore covered with CD (Tommasini), a staff in raku (Böhm), and a lectern with music palindromes (Misto), harps in glass and cedar of Lebanon in the garden (Cimolin, Pallaro). Also bells (Guaricci), Tibetan bells too (Cisternino, Deotto, Michielon) in order to research a universal harmony.




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