cat: gal 0230
date: 21 sept/oct 2017
Please note: this release is for streaming only
Il mondo di sotto Italian independent filmaker Chiara Caterina and Venice based sound artist Nicola Di Croce spent together a long time photographing, filming, writing and recording in a deep exploration of Basilicata region, Southern Italy, “in search of its pieces of bitterness and wonder”. Il mondo di sotto is the result of this audiovisual inquiry that crosses landscapes, territories and elements from the high mountains of Pollino to the underground world of mines in the Val d’Agri area, 100 mt below the surface of the earth. They walked in the rain and sunshine, meeting people, experiencing desolate places and flourishing plateaus, water and ground, finding a sense of landscape animated by the magical, but aiming at exploring coexistences and divergences between modernity and traditions, past and present, artificial and natural, terrestrial and subterranean.
Caterina and Di Croce’s audiovisual essay is a sort of a rite of initiation to the residuality and the liminality of a Southern Italian rural region in 2017, following the echoes of suggestions evoked by literary works as Christ Stopped at Eboli and Magic: A Theory From The South. But at the same time, it draws on critical issues as offshore oil drilling, exploitation and colonial processes. In the deepness and delicate narration of both visual and sonic levels, we can find the traces of a sharp and poetic inquiry that takes the audience to a mesmeric and arcane world crossed by voices and bodies from the past and the present. Il mondo di sotto reveals itself as a powerful and touching immersion in a resonant and reverberating environment facing us to a fascinating and problematic condition of such a rich and conflicting land.
"Il mondo di sotto" by Chiara Caterina & Nicola Di Croce is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at www.galaverna.org.
“Il mondo o niente”, the brand new film by Chiara Caterina scored by Nicola Di Croce, is going to be featured by a film festival on the next October. Until then, the audiovisual journey “Il mondo di sotto” needs to wait before emerging.
Here is a blind preview composed to get in the mood of the work. Click on the image below to go to the release page.
The full release is postponed to mid-October. Stay tuned.
The next release in Galaverna will be featuring Nicola Di Croce and Chiara Caterina. Their work is an audiovisual journey born on the scent of “Il mondo o niente”: a film produced by Le Fresnoy, Studio National des Arts Contemporains (Lille, France), and entirely shot in Basilicata (Italy) between February and March 2017.
Chiara Caterina is a visual artist and video maker. Her video practice undertakes a reflection on the language of non fiction film, on the borders often blurred and slippery between staging and reality and on the role of the author in this subtle process. Her main interest is how we define “truth” in nonfiction cinema, how it becomes meaningful to shift the ethnographic focus from the phenomena themselves to the practices of interaction between observer and observed. [www.chiaracaterina.com]
Nicola Di Croce is a architect, musician and sound artist. He has a PhD in Regional Planning and Public Policies. His research deals with the relationship between urban and regional planning, public policies and soundscape. Such relation explores new potentials for urban regeneration, participatory processes and local development. Listening and field recording practices lead to a new perception of the environment, where the sonic language becomes a narrative and design vehicle; an essential tool for the understanding and the redefinition of public space. [www.nicoladicroce.com]
Piàn di Resnèi Italian-based sound artist Emanuele Magni focuses his research on contemporary soundscape. After beginning field recording activity, he has been looking for places in his region located in North-Italy “not contaminated with anthropophonic sounds”, finding out that “in a world where planes are the worst nightmare for a naturalist field recordist, to get to most of these places [he needs] to take a plane”. After being conscious of this, he decided to continue to record in his territory, questioning his anti-anthropophonic integrity and becaming aware that even his city and its surroundings can provide infinite sound material sources.
As twenty-third release of the Galaverna catalogue, “Piàn di Resnèi” is an album based on field recordings taken in Pian dei Resinelli – Lecco (Piàn di Resnèi in local dialect), a plateau at an average elevation of about 1200 metres, in february 2017. The place, once a sky slope, now has become a bob slope for children.
It’s a mesmerizing voyage of about 28 minutes into interstices between human and non-human acoustic environment, appearing as an intense and delicate composition, a charming composition suspended between different elegiac and concrete spaces that asks the listener for making experience of a complex and fragile environment and delving into the tenuous coexistence of diverse sounds into an highly evocative and border soundscape.
Note from a the artist It was one of the last days with snow on the ground, just before the first symptoms of spring: you can hear it from the sound of the snow. Luckily it was not a week-end day, so no crowd in the place and this translated in a balanced soundscape, congruent with the concept of the Acoustic Niche Hypothesis (Bernie Krause), the idea that vocal organisms in a healthy habitat, tend to establish acoustic or temporal bandwidth in which to vocalize unimpeded by the signatures of others.
The field recording is pure, meaning there is no audio treatment except a bit of equalization and compression for mastering reasons.
Piàn di Resnèi by Emanuele Magni is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at www.galaverna.org.
Il fluire tranquillo di molteplici vite che si propaga in un ambiente confortevole privo della frenesia che informa i caotici scenari urbani. Non il racconto di un paesaggio incontaminato, bensì l’incastro tra una presenza antropica poco invadente che armoniosamente invade uno scenario naturale. Il luogo in cui tutto si svolge è il Pian dei Resinelli, altopiano prealpino in provincia di Lecco, a dirigere la scena è Emanuele Magni. Lungo i quasi ventotto minuti della registrazione emerge frammentaria una sequenza di storie definite da voci e rumori connessi al moto dei suoi protagonisti, che si compenetra con gli echi di un paesaggio la cui impronta originaria permane evidente e funge da cassa di risonanza che amplifica il portato immaginifico suggerito da questo costante accadere. Nessuna manipolazione, nessuna aggiunta è necessaria. Il senso di delicato e prezioso equilibrio tra gli elementi in gioco è frutto di una virtuosa coesistenza di fattori positivi quali una presenza limitata di persone e un periodo di transizione stagionale particolarmente affascinante. Attraverso un’abile lavoro di ripresa e cesello, Magni riesce a plasmare un tracciato concreto denso di lirismo che nell’intersezione degli elementi trova un’efficace espansione narrativa di ciò che solo apparentemente ed erroneamente può essere definito un mero reperto documentario.
We are so pleased to announce that the next Galaverna release will be featuring the sound artist Emanuele Magni.
Emanuele Magni is an engineer and electronic musician from Lecco. His musical environment ranges from electronics to noise, embracing acoustic ecology and field recording practices. He develops an attitude that enhances the sound as a bearer of meanings in itself. He is also the curator of the net-label Grottarecords.
“Piàn di Resnèi” is a recording captured in Pian dei Resinelli – Lecco (Piàn di Resnèi in local dialect), a plateau at an average elevation of about 1200 metres, in february 2017. Emanuele captures recordings of places looking for two main characteristics: a pleasant acoustic and a balanced overlapping of sounds: that’s what he found in that place in a winter day.
Due to some issues difficult to solve by the timescales established, we are forced to cancel the release scheduled for the 21st of May. We apologize, the next release is set for June 2017.
Dodici Chilean-based sound artist Fernando Godoy uses diverse media to research sound as a social and natural phenomena, being interested in the relationship between aural experience and territory.
Through his practice, focused on field recordings, DIY technologies, electronics, sound installations, sound performances, radio works, web projects and experimental composition, Godoy deals with many topics related with social spaces and communities.
As twenty-first release of the Galaverna catalogue, “Dodici” is an album based on field recordings taken during the Liminaria sound art residency that took place in July 2016. It draws on candid conversations, manipulated sounds, voices and noises from the village of Montefalcone di Valfortore. “Dodici” is a work presented for the first time during Liminaria exhibition as an installation, in which sounds of the bells have been transduced into two antique copper pots, while in a family dish a series of stories, chants and poetry were transduced giving to the human voice a metallic tonality. Also in the family dish, there was transduction of sounds recorded during the preparation of different dishes that were cooked in a series of houses.
All these sounds merge into a fourteen minutes voyage between past and present, in which different elements emerge: old and new traditions, the importance of giving back to the local community that has welcomed him and the complexity of village transformation.
“Dodici” appears definitely as a delicate and dense composition, a fascinating soundscape floating between different times and imaginative and physical spaces that invites the listener to make experience of an hybrid and evocative environment and to question his/her relationship with rural territory in the contemporary age.
La obra nace durante una doble residencia (en las zonas rurales de Pollinaria y Montefalcone) en que se desarrolló un proyecto de registro sonoro de las cocinas de familias rurales. Allí fueron registradas preparaciones, entrevistas y relatos, incluyendo poemas y antiguas canciones que hablaban de la comida. Además, durante el periodo de residencia en Moltefalcone, se realizaron registros del sonido de la campana, debido a la importancia de esta sonoridad en el pueblo como también por que algunos relatos vinculaban la campana con los rituales cotidianos de alimentación.
Esto derivó en una instalación en una sala a oscuras, que utilizó un antiguo mobiliario prestado por una señora montefalconense que incluía una mesa, una silla, una lampara, un plato metálico y dos ollas de cobre. Esta instalación generaban una experiencia de escucha a partir del uso de transductores sobre un plato y las ollas, donde estos "parlantes" metálicos reproducían una versión a tres canales del audio que constituye esta publicación.
Sound artist and producer based in the city of Valparaíso. His work is focused on sound research and listening as cultural and physical phenomena. His pieces include site specific works as well as performances, installations, radio works and web projects. His work has been presented in Chile, Peru, Canada, Estonia, Italy, Germany and Australia.
He is currently the director of Tsonami Sound Art Festival, co-editor Aural sound art magazine, artistic director of Tsonami Radio and editor of the platform
Dodici by Fernando Godoy is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at www.galaverna.org.
Fernando Godoy’s “Dodici” amplifies the smallness of how one lives in a space, giving an aural snapshot of what it means to be content with life. The strange Zen of the recording is undeniable. Within the piece, Fernando Godoy looks for the truth held deep within sound. Over the course of the piece the way that the sound evolves feels right, honest, and direct with the listener. Microscopic in nature, the piece delves more than in the mere textures of sound, for a few moments bloom into outright understated bliss with improvised singing and chanting occurring at irregular times. The piece begins with a serene ringing. From there the sound moves on to a more human approach. A soliloquy begins one which seemingly roots the entirety of the sound. Right in the distance there is a snippet of machinery whirring with great effect in the background. Upon finishing with their soliloquy Fernando Godoy focuses on boiling, with the small sounds that it brings makes it feel real. Bubbling works wonders in creating color for the piece. Once this a group of individuals sing together out of happiness. Such a seemingly random occurrence gives the piece a kind of rare celebratory spirit. Rings punctuate and eventually overwhelm their singing. Upon the final moments of the sound a soothing resonant voice speaks deliberately with all else edited out. Downright serene, Fernando Godoy chooses the path less traveled on the bright brilliant and sunny sound of “Dodici”.
Two exciting news for Galaverna are coming the next March 2017.
We will be celebrating our 5th year anniversary with a special release by French sound artist Amandine Casadamont, based on a work made out of ready-made vinyl sounds. It draws on sources deconstructed and reconfigured in a new hybrid composition, designed to transcend new and old.
Then we are happy to announce the release of “Dodici”, by Fernando Godoy, electronics engineer, sound artist and producer who lives and works in Valparaíso, Chile. His work is based on the Liminaria sound art residency held in Campania on 2016, where the artist has explored sounds and tales of food and tradition of the village of Montefalcone di Valfortore.