This piece is a free exploration of different sonic gardening zones, both public and private, I experienced in Argentina in December-January 2015-2016 when summer is up and people love having parrillas in their patios, sneaking into private swimming pools and chatting all night long outdoor in the urban environment. So many spaces and places have been crossed: from friendly enclosed BBQs areas within the city of Buenos Aires to wide open sub-tropical zones at the boundary with Brazil and Paraguay, alongside the city river in search of subtle and hilarious electrical fauna’s utterance. Composition is built upon a wider idea of relational geographies, intuitive soundscaping and active listening. It was selected at the radio art festival ‘Datscha Radio – A Garden In the Air’ happened in Potsdam/Berlin in late August 2017, and broadcasted through the web within a worldwide radio listening session.
Sonus Loci #2017 from elisabetta senesi on Vimeo.
This piece has been shown in Portugal, Canada, Ireland and Italy within several sound/video & performing art festivals/exhibitions. In a virtual space as this, wearing headphones is strongly reccomended. Otherwise increase speaker volume at the maximum.
SL is a space for reflections and visions, liberty and desire. From a costant live present in the surrounding environment towards multilayered perspectives of the self. Focusing the ears by locating sounds within a fragmentary overhearing of voices and bodies afar. A developing architectural space, men and women at work for future dwelling, the outskirt of a broken city, segments of common ground, and the possibility of an open field. From a minimal ray of the everyday experience to the discovering of an extra-ordinary dimension. Phenomenal, psycological, extremely physical.
Sound artists from all over the world were invited to create a sound piece and video/photos, where the sound would be presented, followed by the images. With the images presented randomly, the suggestion is to explore the way that sounds shape visuals and vice-versa.
Alfredo Costa Monteiro (PR/ES), Artificial Memory Trace (Slawek Kwi) (CZ/UK), Darius Ciuta (LT), Elisabetta Senesi (IT), Fernando Ribeiro (PT), Iride Project: Massimo Davi & Monica Miuccio (IT/IE), John F. Barber (US), Juan Carlos Vasquez (CO/FI), Lin Culbertson (US), Loren Chasse (US), Luigi Morleo (IT), Luís Antero (PT), Manuel Rocha Iturbide (MX), Mathieu Ruhlmann (CA), MUfi.re (PT), Nichola Scrutton (UK), Nuno Miranda Ribeiro (PT), Osvaldo Cibils (UY/IT), Paul Collins (CA/FR), Philip Mantione (US), sonosFera (PT), Steve Roden (US), Takamitsu Ohta (JP), Una Lee (KR/UK).
City Sondols offers temporary appropriation’s strategies in urban and architectonical spaces. These are transformed in set designs for sound and aesthetic rituals where the borders between protest, game and sensorial exploration are blurring. The public is invited to experience such an evocative place of the city both physically and acoustically.
Performers: Monica Belloni, Matteo Coluccia, Anna Maria Di Giacomo, Nicola Giannini, Andrea Lulli, Valerio Orlandini, Francesco Perissi, Elisabetta Senesi.
in the abandoned spaces of the ex-monastery of Sant’Orsola in Florence in which we will resonate with DIY electronic instruments.
The performance is the result of an intensive workshop held by the sound artist Matteo Marangoni iii (instrument inventors initiative) based in Den Haag (NL) for Sonic Somatic 2016 in collaboration with Tempo Reale (IT).
The audio-photographic piece is the outcome of a workshop I led at LdM – U.S. University in Florence – over a month with five entry-level Photography/Fine Arts students. The project started from a need to combine and experiment with different art languages in order to build a multi-sensorial approach to space. After a brief presentation about my art practice with photography, and more recently with sound, we had a listening session in class focused on the area we chose as a spot for our fieldwork. I asked students to write down what the audio tells about the space, and start to imagine it visually. We went out there in the outskirts of the city, me with microphones and field recorders for capturing all kind of ‘voices’ of place and students with cameras and lenses for interpreting that sort of ‘voices’. Built environment, architecture development, human activity and every aspect of this public space comes out of it, both visually and sonically. All the audio-visual stuff we gathered had been uploaded to a computer for editing and eventually for finding a strategy to put all these things together, and make them work. After a long session of selection and analysis of the collected materials the two media started to interact each other, they spoke and found a connection about where we were and what that place meant. Even though the two languages are so diverse and distant as they reach different senses, they are so close in terms of what we can grab from the reality and then re-contextualised with new shapes of meaning. That is exactly my starting point for the workshop and what I intent to achieve during the very end of the project where sound and image gathered with different times and perspectives had been match.