playing music that happens just when – and if – the listener allows it to do so is an interesting challenge that may bring using unusual strategies.
Attending to a concert of “ambient” music is nothing particularly attractive if standing or sitting on a chair.
This is surely not the best way to get comfortable enough to let yourself go and reach the state of mind that allows these sounds to reach your inner self and – eventually – move you.
Open air sleep concert in the countryside
It all started in 2014 with a small winterly event for friends, when me and Tiberio played what became the seed of our sleep concert series.
We didn’t even know how to call the thing, however it was immediately clear that inviting people to lay down on a bed surrounded by very soft lights could help even the most resistant ones to relax and let sounds reach the deep.
Winter sleep concert
Since then we’ve been performing Sleep Concerts in small rooms, big gardens and immense malls. As a duo or in ensemble with sensitive and generous musicians as Vittorio Guindani, Simone Lombardi, Stefano Castagna, Lino Capra Vaccina, Giorgio Presti and Fabio Mina.
the invisible stage
The most beautiful thing is knowing this has been a way for many to approach a music – and a way to make music – that would have been very difficult them to listen to otherwise.
The hope is this has been a way to make them feel the potential of music when you allow it to come in and move yourself, when you allow it to get there with no fear.
sleep concert open air at the beginning of the autumn
This is going to be the very first public appearance of the Artsplaces series.
A site specific sound installation in which the recordings of places of art are diffused in a place of art, creating a blend made of different realities.
That day I was visiting the Serpentine Galleries.
A funny displacement feeling captured my attention thanks to some sounds coming from both sides of the exposition internal entrance.
That was the moment I started to take some field-recordings of the situation.
After visiting the Serpentine Galleries I went to the Tate Modern.
Walking through the expositions’ rooms I was caught by another delicate emotional resonance.
Temporal suspension and physical floating were somehow represented by the experience of walking through the artworks.
The peak was reached when I entered the room where the video work by Gülsün Karamustafa “Memory of a Square” was playing.
I had never heard about this Artist before.
Something had happened.
Entering that room I understood what I would have done with the recordings I was collecting.
That event lead to many nice discovers and meetings, starting with connecting with a very gentle and passionate Tate Modern curator and a lovely synchronicity with a friend working at the Kassel Documenta, who was so kind to send me Gülsün Karamustafa’s book in the picture, printed by Documenta itself.
I will keep on investigating about the fascinating, delicate and intense feelings originating from the physical spaces of art expositions with a series that I called ArtSplaces.
I like the idea of this being the first step of a walk.
Here is the sound of my walk through Tate Modern, in and out of Gülsün Karamustafa. Suspended.
This event resonated with the feelings of temporal suspension and physical floating, which is the reason why it exists and resists in time in the form of audio material.