Artipedia - Arts News

Fossati Esterni del Castello Sforzesco

TRALLALERO
Artist I Luca Vitone
Curator I Daniele Perra

Fossati Esterni del Castello Sforzesco, Milan
September 20, 2007, 8 pm
Sponsored by Roberto Del Carlo http://www.robertodelcarlo.it

On Thursday, September 20, 2007, in Milan at the Fossati Esterni del Castello Sforzesco it will be possible to assist in Trallalero, a site-specific project by Luca Vitone, curated by Daniele Perra.

The event has been made possible thanks to the support of Roberto Del Carlo, a Made in Italy accessories line, which after the events Hans Schabus and the Very Pleasure (March 2006, Laboratori del Teatro alla Scala of Milan) and Project Room I A show without works (March 2005, Spazio Lima, Milan) promotes contemporary art for the third consecutive year, supporting the entire project on the occasion of MICAM SHOEVENT-International Shoe Exposition (September 20-23, 2007). The appointment with Trallalero precedes the inauguration of Luca Vitone’s solo show, which will be held starting from September 21, 2007, at the Emi Fontana gallery in Milan.

Luca Vitone has invited, for the first time, all the existing trallalero teams in Genoa (A Lanterna, Gruppo Spontaneo Trallalero, Gruppo Canterini Val Bisagno, I Giovani Canterini di Sant’Olcese, La Squadra) to perform inside the Fossati Esterni del Castello Sforzesco during the evening of September 20, beginning at 8:00 pm. The audience will not be able to physically interact with the singers, but can take part in the performance from the terraces of the moat, observing the various groups, which will be positioned along the entire wall of the castle, "drawing close to them" only by listening.

In Italy’s shared musical heritage, the trallalero is among the most evocative, intimate, and unrepeatable examples of popular song. It represents a style of multivoice rhythm imitating instruments that was most developed and elaborated in the urban area of Genoa, though it is also present throughout the Liguria region. The fundamental structure of the trallalero consists in five voices: tenor (u primmu), falsetto (u segundu or u cuntretu), baritone (u cuntrubassu), guitar voice (imitation of the instrument with a nasal sound emitted by placing the palm of the hand in front of the lips), deep bass. The participants (there have to be at least seven singers for each team) gather in a closed circle so that they can look at one another in order to coordinate the cues, thereby creating a "vocal island." The final, wordless refrain, which lends its name to this typically Genoese form of vocal expression, determines the end, in which the purely verbal element gives way to
sound.

Born in Genoa but currently residing and working in Milan, the artist Luca Vitone is interested in places, not only from the point of view of architecture, but rather from a social space, community, perspective in which it is possible to perceive everyday life, as exemplified by his choice of the Fossati Esterni del Castello Sforzesco in Milan for his Trallalero project. This castle is one of Milan’s most beloved monuments, for centuries the protagonist of fateful events, becoming in the eyes of its citizens a symbol of power exerted by the Lords of Milan or foreign invaders. It was only during the twentieth century that it became a place for culture, destined to safeguard Lombard art.

Luca Vitone’s art, aimed at rediscovering forgotten practices united in his personal geography, invites us to recognize something we are already familiar with, challenging the conventions of short-lived and ephemeral memory. The artist explains: "I’m against creating monuments that represent memory or power through an image that looms above and frightens. I’m interested in creating something that invites people to participate. In the case of the Trallalero project, sound flows like water, and like water it becomes a metaphor for life. Also, coming from the moat, as if originating from an archeological dig, it literally represents the metaphor ’sounds from the earth,’ transforming song into the memory of material culture from the place."

Luca Vitone was born in Genoa in 1964. His works have been shown in public and private spaces including: French Academy, Villa Medici, Rome (1999), OK Centrum, Linz, solo show (1999); P.S. 1, New York, solo show, (2000); Palazzo delle Esposizioni, Rome, solo show (2000); Museo Pecci di Prato, Prato (2000); PAC, Milan (2000); Casino Luxembourg, Luxembourg (2001); Lenbachhaus Kunstbau, Munich (2001); National Centre for Contemporary Arts, Moscow (2002); MAMCO, Geneva (2003); 2nd Bienal de Valencia, Valencia (2003); 50th Venice Biennale, Venice (2003); ARC Musée d’Arte Moderne de la Ville de Paris, Paris (2003); Centro per l’Arte Contemporanea Luigi Pecci, Prato, solo show (2004); OK Centrum, Linz (2004); Villa Arson, Nice (2004); Galleria Nazionale d’Arte Moderna, Rome (2005); PAC, Milan (2006); Casino Luxembourg, Luxembourg, solo show, (2006); MART, Rovereto, solo show (2007). A solo show is scheduled in November at the OK Centrum of Linz.

Daniele Perra is an art critic and curator. After graduating from the University of Bologna (D.A.M.S — Department of Art, Music, and Performance), he became interested in the relationship between visual art and technology. He taught a course on the Phenomenology of Contemporary Art at the Scuola Politecnica di Design in Milan (2004-2005), was Managing Editor of "tema celeste" (1999-2007), and collaborated from 2000 to 2006 with "Il Sole24ORE" (Sunday issue). In 2006, he was part of the selection committee for the Premio Furla and for the Premio Artegiovane "Milano e Torino incontrano … l’Arte." Among the shows he has curated: Shahryar Nashat in collaboration with the Centro per l’Arte Contemporanea Luigi Pecci, Cantieri Culturali ex-Macelli, Prato (2003), Project Room. A show without works (Spazio Lima, Milan, 2005), then traveling to La Box Bourges, Ecole Nationale Supérieure d’Art de Bourges, and Hans Schabus and the Very Pleasure (La
boratori del Teatro alla Scala of Milan, 2006). He has authored the book Impatto Digitale. Dall’immagine elaborata all’immagine partecipata: il computer nell’arte contemporanea, to be released in September for the study center and publishing house Baskerville of Bologna. He lives and works in Milan.

ROBERTO DEL CARLO: the passion for design, the noteworthy technical expertise in making shoes and the love for handmade products make up the philosophy of Roberto Del Carlo and the accessories line that bears his name. The Roberto Del Carlo s.r.l. company was founded in the late 1990s by the joined efforts of Roberto Del Carlo and Luigi Pierro, with the intention of exclusively developing and consolidating the ideas of Roberto. This goal was attained by means of a precise policy: extreme product care and a selected commercial distribution. Roberto Del Carlo is one of the brands most representative of Made in Italy throughout the world.

USEFUL INFORMATION

Title: TRALLALERO
Artist: Luca Vitone
Curator: Daniele Perra
Date: Thursday, September 20, 2007
Location: Fossati Esterni del Castello Sforzesco, Milan
Hours: 8 pm
Entrance: free
Info: And’ Studio, tel. +39 02 45487375

Press Offices:
Ilaria Gianoli tel. +39 333 6317344 ilariagianoli@tin.it
Marta Colombo tel. +39 340 3442805 martacolombo@gmail.com
And’ Studio Andrea Pilastro: tel. +39 02 45487375 andreapilastro@andstudio.it

For more information go to: http://www.robertodelcarlo.it

P.A.R.A.S.I.T.E. Museum of Contemporary Art

The Best is Yet to Come — Tadej Pogacar &
P.A.R.A.S.I.T.E. Museum of Contemporary Art

Edited by Lívia Páldi
Texts by Zdenka Badovinac, Igor Zabel,
Misko Suvakovic, Hans-Ulrich Obrist,
Livia Paldi, Tadej Pogacar
English edition, c-print, paperback, format:
26 x 21 cm, 80 pp., Ljubljana 2007
Design: New Collectivism

ISBN 13-digit: 978 3 86588 371 1
Published by P.A.R.A.S.I.T.E. Institute
Co-published by REVOLVER and Skuc Gallery

The Best Is Yet to Come is the first comprehensive overview of the work of the P.A.R.A.S.I.T.E. Museum of Contemporary Art. The P.A.R.A.S.I.T.E. Museum was established in 1993 by Tadej Pogacar who describes it as a "virtual, critical structure that exists without its own space or employees, but rather merely takes up residence in other territories, locations and networks and feeds of the juices of institutions." Its strategy may be condensed into three basic tenets: transcending the limits of one’s own discipline; being flexible; and practicing a methodological eclecticism. New parasitism can be described as the subtle deconstruction of the horizon of the everyday and a ruthless challenging of the social systems used to establish center, dominance, and power in everyday life, art, and society. In the last thirteen years, the P.A.R.A.S.I.T.E. Museum has created a number of events, performances, public actions, interventions, exhibitions, collaborations, and conferenc
es.

The early museum interventions raised questions about knowledge: How is it produced, structured, and ordered? How is it possessed, transmitted, and used? Another, closely related issue was that of social visibility: Pogacar posed questions about what we see and what we fail to see, what we consider "natural" and what we find disturbing.

Public actions in Ljubljana (1995), Graz, Austria (2002), New York (2002), Mexico City (2003) and Puerto Rico (2005) were executed as participatory projects and interventions into public space. They represent practical investigations of low-tech and unplanned architecture. Such actions open up new possibilities for redefining institutional participation in the creation of urban space and producing alternative policies for the use of public space.

In 1999, Pogacar initiated the project CODE:RED as an ongoing collaborative, interdisciplinary platform for discussion and research into models of self-organization of urban minorities, global sex work, and human trafficking. This platform uses both real and virtual spaces, and takes the form of an open dialogue between artists, sex workers, and the public in selected urban environments. CODE:RED employs various forms of public action and activism, subversions in urban, media, and virtual environments. CODE:RED events have been organized on different venues, including at the Venice Biennial (2001), Tirana Biennial (2005), Sao Paulo Biennial (2006) and most recently on 10th Istanbul Biennial (2007).

To order the book online go to one of the following:
http://www.revolververlag.de
http://www.zavod-parasite.si
http://www.galerija.skuc-drustvo.si

For more information go to:

Tate Modern

UBS Openings: Live
Alvin Curran: Maritime Rites
Featuring members of the
London Symphony Orchestra
Tate Modern, The Thames and the
Millenium Bridge
Admission Free
Friday 14 September, 17.30 - 19.00
For public information
please call 020 7887 8888
or see http://www.tate.org.uk

Explosion of music on The Thames for the UK premiere of Maritime Rites

On Friday 14 September the American composer and artist Alvin Curran will be stationed on a barge in the middle of The Thames, leading the London Symphony Orchestra Brass, the UBS Orchestra and over 300 volunteers for the UK premiere of Maritime Rites. This spectacular performance inspired by the sounds of the river, and concluding with the bells of St Paul’s Cathedral, will take place outside Tate Modern and on the Millennium Bridge.

Maritime Rites has been made possible through UBS who has pioneered unique partnerships with both Tate and the London Symphony Orchestra. Commissioned by Tate Modern, Maritime Rites is the first collaboration between Tate Modern and LSO and is part of UBS Openings: Live, a series of bi-monthly performance events at Tate Modern.

Previously performed in Sydney and New York Harbour Maritime Rites will begin at 17.45pm. Curran will start playing a keyboard/synthesizer which contains a wide variety of sounds he has captured, re-used and transformed. These sounds come from rivers, ports, lighthouses, foghorns, claxtons and boat signals. Like Handel’s harpsichord on a barge playing the Water Music, originally performed in 1717 for Charles I, Curran’s performance will link many elements together.

On his barge, Curran will be joined by a cadre of improvising musicians including Evan Parker on the Saxophone and Melvyn Poore on the Tuba. Outside Tate Modern on the north landscape, the London Symphony Orchestra Brass will be playing Curran’s re-composition of music historically associated with The Thames written specifically for this UK premiere.

The UBS Orchestra, which brings together UBS employees and the Administration staff from the London Symphony Orchestra, will perform from the Millennium Bridge, leading volunteers with their instruments. The performance will last 75minutes and finish at 19.00. The bells of St Paul’s Cathedral will play a specially-composed carillon to conclude the event.

Alvin Curran says: ‘In the 1970s I began to formulate ideas and projects leading to the making of music outside concert halls – often in large open and naturally beautiful sites. Ports, lakes and rivers etc were ready sources of my musical inspiration and now became theatres for my music’.

Maria Bentley, Global Head of Human Resources at UBS comments "Maritime Rites is a unique event which sees the collaboration of two of UBS’s leading cultural partners. It is particularly exciting to have the UBS Orchestra take part, highlighting the rich opportunities that are available to UBS employees as a result of these partnerships.

Maritime Rites is curated by Catherine Wood, Curator, Tate Modern and Richard Bernas, Gramophone Award-winning conductor and Music Consultant at Tate Modern, assisted by Vanessa Desclaux, Tate.

For further press information please contact Jenny Lea, Tate Press Office
Call 020 7887 4942 Email pressoffice@tate.org.uk

Notes to Editors

Maritime Rites is the result of a unique collaboration, of two of UBS’s leading cultural partnerships, Tate and the London Symphony Orchestra. It also features the UBS Orchestra which consists of UBS employees as well as administrative staff from the London Symphony Orchestra.

Tate and UBS: Opening up Art

Tate and UBS share a vision to open up art. Together we have created UBS Openings, a dynamic and wide-reaching programme focused on the Tate Modern Collection.

The programme features the complete re-hang of Tate Modern’s permanent Collection, including a selection of works from The UBS Art Collection, an annual cultural festival, regular live events and an exciting range of activities for families.

By working together, we believe that our unique partnership will enable us to reach out to more audiences than ever before.

Opening up art. Tate Modern Collection with UBS

UBS and Tate related enquiries should be directed to Sophie Dennys at Brunswick Arts:
Call 02070256500 / 07889002972
Email sdennys@brunswickgroup.com

LSO and UBS: Extraordinary Music Together

Over many years, UBS has supported the LSO in its mission to make the most extraordinary music available to the greatest possible number of people, a goal that requires commitment and teamwork — values that lie at the core of UBS, a leading global financial services firm.

The partnership covers the full range of the Orchestra’s work from its world-class concerts to its education initiatives and work in the community through LSO St Luke’s, the LSO and UBS Music Education Centre. We bring together many of the finest musical talents and provide new opportunities for composers, musicians, teachers and pupils, helping to shape the future of exceptional and inspiring music, for all to share.

For further information on the partnership between UBS and the LSO please contact:
Rachel Clarke at Four Communications
Rachel,Clarke@fourcommunications.com
Tel: 0870 0668733

For further information on the London Symphony Orchestra please contact:
Dvora Lewis PR
dlpr@dvoralewis.com
Tel: 020 7435 9257

For more information go to: http://www.tate.org.uk