Signal from noise, Opus incertum and Ius Soli installed at museo Madre Napoli. Video overview.
Prophecies and pronouncements are used by performers inside Sibyl Sessions, third step of a trilogy directed by Alessia Siniscalchi. My writing is present as a book, as a wide screening, in the words of performers and in the music work.
The impressive video documentation work by Maria Mazzella shows how my Prophecies and pronouncements enter the space of the performance.
Ius Soli. Chapter one. Vesuvius black zone: waiting, passing, redemption: Corte II Vico San Michele.
The video trailer.
Corte II Vico San Michele Dialoghi, rigenerazione, comunità, pietre, sfregamenti, catastrofi e archivi. A site specific installation of Ius Soli with invited artists. Campania Felix delenda est. Chapter 1: waiting, passing, redemption. The courtyard as a dialogue space. Promoted and produced by Vesuvio Adventures.
Thanks to artists rumoremuto Phil St. Georges Jone Kvie Alessia Siniscalchi Maria Mazzella Himali Singh Soin/David Soin Tappeser Julia Liedel Progetto Fiori Luca Salza
Mauro Gioia’s Conferenze cantate visual set includes this young dead bride, the young absent bride, the young murdered bride.
It’s the key image in the visual set for Alpha singers in Neapolitan song, the last Conferenza Cantata at Auditorium Parco della Musica @auditoriumparcodellamusica in Rome and at Teatro Trianon Viviani @teatrotrianon in Naples, written by Giuditta Borelli, Mauro Gioia himself @fondogioia, Antonio Pascale @atpascale66 and Anita Pesce, in which Mauro Gioia tells about a peculiar story inside history of Neapolitan song, related to toxic relationship with love, relationships between men and women, gender violence, gender domination.
It’s a documentary photograph picturing one of the most impressive archives I have ever seen: my mother’s trunk containing her pre wedding dowry. While it is still untouched and possibly never opened before, extracting one piece gave me the image of a long running violence related to cultural tradition, family education, ideologic positions. Of a low-fi lifetime impossible to depict violence, in which blood rains into wine in an invisible transparency, in which acceptance itself of invisible yet powerful violence build up an ineluctable structure of your own life. Also combined with the idea of poorly sexually and emotionally educated males as part of your life horizon.
In Alpha singers in Neapolitan song, Cantanti alpha nella canzone napoletana, i also worked on a series of videos interviews based on Pier Paolo Pasolini’s Comizi d’amore, re-writing some Pasolini’s classic questions and adding some I wrote.
Stage photography as performative act + collective path planning + field recording. The video footage show chronologically every single photo shot during the week of residency at Kulturfactory contemporary international residency for the performance Oreste will be back. Gestures producing photos are influenced by the space composition: live music by Phil St George, other bodies (Alessia Siniscalchi, Paul Spera, Alessandra Guazzini, Benjamin Sillon, Maria Anzivino, Federica Clarizia, Marcella Martusciello, Imma Di Lillo, Maria Mazzella), field sounds, voices and speeches, lights performed by Benjamin Sillon and by other people, architectures, objects, trees, plants, soils.
Oreste will be back also features images form my work Ius Soli and from Opus Incertum.
Credits : Music is composed by Phil St. George. Oreste will be back