WP_Query Object ( [query] => Array ( [post_type] => sounds [settori] => sound-art-museum-en [paged] => 44 [posts_per_page] => 10 ) [query_vars] => Array ( [post_type] => sounds [settori] => sound-art-museum-en [paged] => 44 [posts_per_page] => 10 [error] => [m] => [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [category_name] => [tag] => [cat] => [tag_id] => [author] => [author_name] => [feed] => [tb] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [title] => [fields] => [menu_order] => [embed] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [post_name__in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [post_parent__in] => Array ( ) [post_parent__not_in] => Array ( ) [author__in] => Array ( ) [author__not_in] => Array ( ) [search_columns] => Array ( ) [meta_query] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_menu_item_cache] => [lazy_load_term_meta] => 1 [update_post_meta_cache] => 1 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [taxonomy] => settori [term] => sound-art-museum-en [order] => DESC ) [tax_query] => WP_Tax_Query Object ( [queries] => Array ( [0] => Array ( [taxonomy] => settori [terms] => Array ( [0] => sound-art-museum-en ) [field] => slug [operator] => IN [include_children] => 1 ) ) [relation] => AND [table_aliases:protected] => Array ( [0] => wp_term_relationships ) [queried_terms] => Array ( [settori] => Array ( [terms] => Array ( [0] => sound-art-museum-en ) [field] => slug ) ) [primary_table] => wp_posts [primary_id_column] => ID ) [meta_query] => WP_Meta_Query Object ( [queries] => Array ( ) [relation] => [meta_table] => [meta_id_column] => [primary_table] => [primary_id_column] => [table_aliases:protected] => Array ( ) [clauses:protected] => Array ( ) [has_or_relation:protected] => ) [date_query] => [queried_object] => WP_Term Object ( [term_id] => 10 [name] => SoundArtMuseum en [slug] => sound-art-museum-en [term_group] => 0 [term_taxonomy_id] => 11 [taxonomy] => settori [description] => [parent] => 0 [count] => 1145 [filter] => raw ) [queried_object_id] => 10 [request] => SELECT SQL_CALC_FOUND_ROWS wp_posts.* FROM wp_posts LEFT JOIN wp_term_relationships ON (wp_posts.ID = wp_term_relationships.object_id) JOIN wp_icl_translations wpml_translations ON wp_posts.ID = wpml_translations.element_id AND wpml_translations.element_type = CONCAT('post_', wp_posts.post_type) WHERE 1=1 AND ( wp_term_relationships.term_taxonomy_id IN (11) ) AND ((wp_posts.post_type = 'sounds' AND (wp_posts.post_status = 'publish'))) AND ( ( ( wpml_translations.language_code = 'en' OR ( wpml_translations.language_code = 'it' AND wp_posts.post_type IN ( 'page' ) AND ( ( ( SELECT COUNT(element_id) FROM wp_icl_translations WHERE trid = wpml_translations.trid AND language_code = 'en' ) = 0 ) OR ( ( SELECT COUNT(element_id) FROM wp_icl_translations t2 JOIN wp_posts p ON p.id = t2.element_id WHERE t2.trid = wpml_translations.trid AND t2.language_code = 'en' AND ( p.post_status = 'publish' OR p.post_status = 'private' OR ( p.post_type='attachment' AND p.post_status = 'inherit' ) ) ) = 0 ) ) ) ) AND wp_posts.post_type IN ('post','page','attachment','wp_block','wp_template','wp_template_part','wp_navigation','mc4wp-form','projects','events','sounds' ) ) OR wp_posts.post_type NOT IN ('post','page','attachment','wp_block','wp_template','wp_template_part','wp_navigation','mc4wp-form','projects','events','sounds' ) ) GROUP BY wp_posts.ID ORDER BY wp_posts.post_date DESC LIMIT 430, 10 [posts] => Array ( [0] => WP_Post Object ( [ID] => 6233 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Dépaysements è una serie di lavori per strumento solo e per voce e pianoforte dedicati ad incontri tra la musica contemporanea e le tradizioni extra-europee. TT: 69' 42". Dépaysements è un lavoro di sfioramenti, marginalità e sconfinamenti. La traccia em,ozionale che lo attraversa è una permanente condizione di deriva o naufragio di un paesaggio nelll'altro. Si gioca l'inserimento di suggestioni geografiche in un sistema centrifugo dove, scivolando semanticamente, ognuna di questa si sottrae all atrappola della definizione o non definizione di sé. L'"artificio delle temporalità" tra musica colta occidentale e il dato extraeuropeo, con la sua diversa percezione della storia, ispira l'intero ciclo per un convivere di identità stimolate al movimento non solo dalla trama delle storie del passato ma anche e soprattutto da sempre più compromettenti e politiche ipotesi di futuro. Il CD "Dépaysements" si compone di 10 tracce: 1: Maftir (2003) per viola da gamba sola, 6' 46", viola Hille Perl; 2: Mizmor (1999) per pianoforte solo, 4' 48", pianoforte Cristina Barbuti; 3- 6: Le divan oriental-occidental (2002) Quatre chansons pour voix et piano, soprano Linda Campanella, pianoforte Cristina Barbuti 3: Ad'h'â at--tanâ'i (testo di Ibn Zaydun), 7' 14"; 4: Gestern mittags (testo di R. M. Rilke), 4' 59"; 5: Gingo biloba (testo di J. W. Von Goethe), 6'07"; 6: L'âme que l'amour ne connaît (testo di Rûmi), 4' 49"; 7: Dhil (2004) per contrabasso solo, 7' 59", contrabasso Willy Merz; 8: Pardes (2003) per percussione sola, 13' 34", percussioni Thierry Miroglio; 9 Dung (1998) per faagotto solo, 5' 33", fagotto Diego Chenna; 10: Reng (2003) per viola sola, 7' 48", viola Danilo Rossi. [post_title] => Pardes [post_excerpt] => Willy Merz è compositore, direttore d'orchestra e contrabbassista. Diplomatosi in Contrabasso e in Composizione presso il Conservatorio di Torino e in Direzione d'Orchestra presso il Conservatorio di Milano, si è perfezionato all'Accademia Chigiana di Siena con Franco Donatoni, all'IRCAM di Parigi e con Fernand Leitner in Direzione d'Orchestra. Nel 2003 è stato preiato dal "Councours international de Composition" di Friburgo. Sue composizioni sono abitualmente eseguite in importanti Festivals europei e diffuse su France Culture, Suedwest Rundfunk e RAITRE. Nel 2003 la sua opera "Ulysses" è stata eseguita presso il Teatro Colòn di Buenos Aires. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => pardes [to_ping] => [pinged] => [post_modified] => 2015-01-09 16:20:22 [post_modified_gmt] => 2015-01-09 15:20:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6233 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 220 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6266 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => The air underneath [post_excerpt] => Fa parte del CD "Cécile"; T.T. 60' 18". Copyright: Kaffe Matthews 1999 Edited, mixed and mastered by km at Annette Works, Top floor, 11-29 Fashion Street, London E1 6PX. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => the-air-underneath [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:53 [post_modified_gmt] => 2015-01-09 16:00:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6266 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 253 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6298 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Fa parte del CD "eb"; T.T. 51' 47". Copyright: Kaffe Matthews 2003 Mixed and produced by km at Annette Works. [post_title] => Long line starting [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => long-line-starting [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:56 [post_modified_gmt] => 2015-01-09 16:00:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6298 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 285 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6329 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Fa parte del CD "dd"; T.T.67' 33". Copyright: Kaffe Matthews 2000. Mixed and edited by km at Annette Works. [post_title] => Pool in the basement [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => pool-in-the-basement [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:59 [post_modified_gmt] => 2015-01-09 16:00:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6329 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 316 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6361 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Track 7 del CD "Canoni Pitagorici"; T. T.: 49' 41". A.C.T. played by David Cossin. [post_title] => Canone pitagorico ø6 [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => canone-pitagorico-o6 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:02 [post_modified_gmt] => 2015-01-09 16:01:02 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6361 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 350 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6393 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => People Put Jungles and Pieces of Mountains in My Mouth [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => people-put-jungles-and-pieces-of-mountains-in-my-mouth [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:05 [post_modified_gmt] => 2015-01-09 16:01:05 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6393 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 382 [post_it] => 1 ) [6] => WP_Post Object ( [ID] => 6062 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => White Sound [post_excerpt] => email: maritfolstad@hotmail.com wunderschoen - schnee???? [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => white-sound [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:59 [post_modified_gmt] => 2015-01-09 16:01:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6062 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 46 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6094 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => I don't know what to do [post_excerpt] => Born in Bologna (Italy) 1969. 1983-87 studied at the Artistic Lyceum of Bologna, graduated in 1987. 1987-91 studied at the Academy of Fine Arts of Bologna at the School of Paintings of Concetto Pozzati, graduated First Class Honours in 1991. SOLO EXHIBITIONS "UNREALIZEABLE", Cueva, Milan, Italy, 2003. "Aria di Confine", Quaranta2 Contemporaneo, Modena, Italy, 2002. "Running Out", Villa Serena, Bologna, Italy, 2002. "La Casa dei Nonni", Zone c/o Graffio, Bologna, Italy, 2001. "Working as the postman of the Royal Albert Hall", Sesto Senso, Bologna, Italy, 1999. "Hope and Despair", Bond Gallery, Birmingham, UK, 1998. "The Observer", Fringe, Spitafields, London, 1997. "Saper scegliere e' un'arte", Studio Serrapica, Bologna, Italy, 1996. "Papers", Carnera, Adria, Italy, 1994. SELECTED GROUP EXHIBITIONS 2004 "This thing we do", curated by Scott Speh, Western Exhibitions, Chicago (USA). "La Valigia dei Sogni", curated by Gabriele di Labio, Palazzo della Duchessa, Miglianico (CH), Italy. "The First International Stefano Pasquini competition for the unrealized scultpure", curated by Gruppo 20%, Ex Ospitale S. Giacomo, Carrara, Italy. "Il Bosco dei Poeti", curated by Lome, Bosco dei Poeti, Dolcè (VR), Italy. "7K Nights", curated by Gabi Scardi, Studio Stefania Miscetti, Rome, Italy. "La Vacanza", curated by Stefano Pasquini and 20%, Alanda, Carrara (Italy). 2003 "Belief Systems", curated by Pantelis Arapinis & Kostis Velonis, Alphadelta Gallery, Athens, Greece. "Whirlpool", curated by Grazia De Palma, Zenzero, Bari, Italy. "Fruit of the Loop", curated by Annalisa Cattani and Fabrizio Rivola, Pinacoteca, Imola, Italy. "Amici Miei", curated by Italo Zuffi, Sala Comunale Ex-Fienile, Castel San Pietro Terme, Bologna, Italy. "Anigma", curated by Andrey Martynov and Mario Gorni, Rock City, Novosibirsk, Russia. "Video.it/TORINO", curated by Francesco Poli, Elena Volpato, Mario Gorni, The Beach, Murazzi sul Po, Turin, Italy. "God Bye Gombola", curated by Marco Mango, Chiesa di San Michele Arcangelo, Gombola, Modena, Italy. "PILL number one", curated by Fabiola Naldi, Koma' Gallery, Campobasso, Italy. "Vìdeo em Tavira + fiav 2003", curated by Mario Gorni, Pàlacio da Galeria, Casa das Artes, Tavira, Portugal. "Unimovie", curated by Gabi Scardi and Mario Gorni, MuseoLab, Città Sant'Angelo, Pescara, Italy. "Short Code", curated by RoGoPaG, Villa Serena, Bologna. "Wandering Library", curated by The International Artists' Museum, 50° Biennale di Venezia, Venice, Italy. "Il Bosco dei Poeti", curated by Lome, Bosco dei Poeti, Dolcè (VR), Italy. "Il linguaggio delle catastrofi", curated by Manuela Gandini and Chiara Somajni, Artandgallery, Milan. "I don't know what to do", performance, curated by Alice Volta, Uau Lab, Terminal, Bologna. "Riflessioni sugli effetti delle guerre", Galleria Milano, Milan. "Questionnaire", curated by Daniela Lotta, Synapser, organized by Undo.Net e Esterni, Milan. "Movin' Up", Neon, Bologna. "Unjustifiable Mess" Sesto Senso, Bologna, Italy. 2002 "Selected", curated by Antonio Dorazio, Villa Serena, Bologna, Italy. "Tracking", curated by Antonella Marino, Museo Nuova Era, Bari, Italy. "100 Teste per Giovanni Macchia", curated by Marco Mango, Chiesa di San Michele Arcangelo, Gombola (MO), Italy. "Future Visioni", curated by Fabiola Naldi, Museo Provinciale di Potenza, Italy. "Lingo", curated by Jennifer Schmidt and Matthew Nash, ONI Gallery, Boston MA. "Fluid", curated by Gerard McCaarthy, Gallery Korea, New York. "Something", curated by Stefano Pasquini, Sesto Senso, Bologna, Italy. 2001 "Figure del Novecento 2 - Oltre l'Accademia", curated by Adriano Baccilieri, Roberto Daolio and Concetto Pozzati, Sale Belle Arti di Pinacoteca e Accademia, Bologna, Italy. "Video.it - Arte Giovane a San Pietro in Vincoli", curated by Francesco Poli, Torino. "Politica e Giustizia", curated by Stefano Pasquini, Spazio EDGE, Festival dell'Unita', Modena, Italy. "Nick Black, Mindy Rose Shwartz, Stefano Pasquini, CAR + David Robbins, The suicide of Primo Levi, Conan O'Brien and Jenn Ramsey", put together by Pedro Velez, The Thomas Blackman Show, Joymore Gallery, Chicago. "SUK", curated by Stefano Pasquini & SAM01, Sesto Senso, Bologna, Italy. "Mutamenti//Inganni", curated by Fabio Cavallucci, Chiostro di Scardavilla (FC), Italy. 2000 "Anton Vidoke, Stefano Pasquini, Juana Valdes, Amy Eschoo, Christopher Ho, Pedro Velez", organized by Mauricio Laffite-Soler at el Malecon during the 7th Havana Bienal, Cuba. "Video On Video", curated by Ann lePore, Saratoga, NY. The Hihjacking of "Hit & Run", with Michael Dvorkin, NYC. "Duchamp Traveling Exhibition", curated by NYArts, Kulturbahnhof, Bremen, Germany; Emmanuel Heller Gallery, Tel-Aviv, Israel; The Artists’ Museum, Lodz, Poland. "Mayonese", curated by Stefano Pasquini, Sesto Senso, Bologna, Italy. Video night organized by John-Robert Howell, VOID, New York, NY. "Campo", curated by Marco Fantini & Roberta Piccioni, Rimini, Italy. 1999 "International Eclectic", curated by Dennis Bellone, Walden, NYC. "Hit & Run", Attorney Street, NYC. "Greenpoint Video Arts Source", Greenpoint, NY. "Take a Holiday", Star67, Williamsburg, NY. "Spaceship Earth", Art in General, New York. "Stockholm Transformers", Obcervatorium, Stockholm. 1998 "Nexus and Authority", Performance at the Camberwell Arts Festival, London. "Tronway Arts Centre", Transmission Gallery, Glasgow. Nonin Temple, Curated by Taro Kimura, Moka City Tochigi, Japan 1997 "Unrealizeable Projects", in "Hong Kong Island", Transmission Gallery, Glasgow. "Welcome to London", Summer Exhibitionists, ICA, London. "European Couples and Others", Transmission Gallery, Glasgow. "Welcome to Nottingham", eXpo, Nottingham. 1996 "Italians", Sala Partecipanza, Pieve di Cento, Bologna, Italy. "Compagni di scuola", with Federico D'Orazio and Mieke Van Schaijk, Hedah Gallery, Maastricht, Netherlands. "Everything Else", performance with Simone Rondelet, Spitafields, London. "Coop", with Heather Allen and Erik Wesslo, Casco, Utrecht, Netherlands. "Be Me", performance for Giorgio Sadotti, Interim Art, London. "Artists challenge the Armouries", with Crystal Clear, Leeds. 1995 "Italians", curated by Giorgio Sadotti, 30 Underwood Street, London. "Outpost", Venice Biennale 1995, Italy. "Welcome to London", performance at Everything Else, London. 1994 "Paint it Blue", Gallery 28, Reading, UK. "Dietro la Citta'", interventions within the city of Imola , Italy. "Outpost", Edinburgh Festival, also shown at The Collective Gallery, Edinburgh. "CD3", The Collective Gallery, Edinburgh. 1993 "State of The Nation", Henrietta House, London. "25 at 25", National Portrait Gallery, London. "Et Al", Visionfest 93, Liverpool. "Adsite", with Fat, London. "CD2", Collective Gallery, Edinburgh. 1992 Giuseppe Sobrile Paintings Prize, Gallery of Modern Art of Turin, Mole Antonelliana, Turin, Italy. "Two Exhibitions of Paintings", 63 Union Street Gallery, London. 1991 "Atelier 18x24", 420WB Gallery, Ravenna, Italy. "L'Europe d'Art d'Art", Niort, France. 1990 "Atelier 18x24", La Roggia Gallery, Pordenone, Italy. "Atelier 18x24", La Diade Contemporary Art, Bergamo, Italy. 1989 "Bologna Tendenze Artistiche Emergenti", Bologna, Italy. "La Via delle Belle Arti", Cultural Centre, Marano sul Panaro, Modena, Italy. "Atelier 18x24", Mascarella Gallery, Bologna, Italy. "Atelier 18x24", Mazzocchi Gallery, Parma, Italy. 1988 "Frammenti di Babbeismo", Circolo Mabuse, Bologna, Italy. PUBLICATIONS/BROADCASTING Alessandra Borgogelli, "Operazioni al Vetriolo", Work Art in Progress, N. 8, January - March 2004, Trento, Italy. Fabiola Naldi, "Rapport 2004", Flash Art, Anno XXXVII, n° 244, Febbrario - Marzo 2004, Milan, Italy. Marco Mango, God Bye Gombola, catalogue, Modena, 2003. Laura Taccani, "Riflessioni sugli effetti delle guerre", City Milano, Anno 3, Numero 62, 2 Aprile 2003. "Fashion Victim", special project for I LOVE MUSEUMS 2003, No. 0, June 2003. Stefano Pasquini, "Environmental Wanderer", Collezioni EDGE, Ottobre 2002. Patrizia Silingardi, "Aria di Confine - Stefano Pasquini", Exibart, Italy, October 2002. Michele Fuoco, "Il tempo rinnova la paura", Gazzetta di Modena, Italy, 25 October 2002. Randi Hopkins, "The Land of signs", The Phoenix, Boston, US, May 16th-23rd 2002. Soren de Melinot, "Pasquini's Flags", Collezioni Trends 59, Italy, SS 2002. Paola Naldi, La Repubblica, Italy, 13 June 2001. "Stefano Pasquini" in "Figure del '900 2: Oltre l'Accademia", catalogue, pp. 546-547. Match Music, Art TV, "Slow and Low", 27 April 2001, curated by Fabiola Naldi. Juliet, 99, October-November 2000, Trieste, Italy. La Repubblica, Italy, 16 June 2000. Susan Hamburgher, Waterfrontweek 9.13, Williamsburg, NY, 1 July 1999. Dario Trento, La Repubblica, Italy, 24 June 1999. Flash Art 206, International, May-June 1999. City Lights 17, Nottingham, November 1998. "Unrealizeable Projects", Skin, Maastricht 1997. "Unrealizeable Projects", STOPSTOP, Glasgow, 1997. Miranda Sayer, Time Out 1308, London, September 1995. Elaine Paterson, Time Out 1206, London, October 1993. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => i-dont-know-what-to-do [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:01 [post_modified_gmt] => 2015-01-09 16:02:01 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6094 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 78 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6126 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Celle Elettrolitiche [post_excerpt] => Claudio Sichel nasce a Padova nel 1976. Consegue la Maturità Artistica nel 1996 presso il Liceo Artistico A.Modigliani di Padova. Consegue nel 2003 col massimo dei voti la Laurea in Dams presso la Facolta di Lettere e Filosofia di Bologna con una tesi sull’Arte Cinetica del Gruppo N (monografia su Alberto Biasi). Consegue nel 2004 il diploma professionale di videoediting su sistemi AVID sotto la guida di Paolo Vanghetti presso l’Accademia Nazionale Arti Cinematografiche di Bologna (CINE STUDIO). Ha collaborato come redattore per le rubriche Exibart e Random Net Art. Dal 2003 e membro del collettivo IXEM (Italian eXperimental Electronic Music). Dal 1996 è impegnato sul fronte dell’arte contemporanea realizzando eventi e opere basate sulla commistione di elementi visivi (pitture, sculture, installazioni, video) e sonori (musica elettronica sperimentale). Interessato all’esplorazione estetica intorno alle molteplici sfacettature dei fenomeni fisici della realtà e della tecnologia, la sua poetica è caratterizzata da una costante tensione di ricerca verso nuove dimensioni espressive e comunicative [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => celle-elettrolitiche [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:04 [post_modified_gmt] => 2015-01-09 16:02:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6126 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 110 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6158 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Resonating Mary [post_excerpt] => cd name: Alcune Composizioni by e.g.o 2001-2004 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => resonating-mary [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:07 [post_modified_gmt] => 2015-01-09 16:02:07 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6158 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 143 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6233 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Dépaysements è una serie di lavori per strumento solo e per voce e pianoforte dedicati ad incontri tra la musica contemporanea e le tradizioni extra-europee. TT: 69' 42". Dépaysements è un lavoro di sfioramenti, marginalità e sconfinamenti. La traccia em,ozionale che lo attraversa è una permanente condizione di deriva o naufragio di un paesaggio nelll'altro. Si gioca l'inserimento di suggestioni geografiche in un sistema centrifugo dove, scivolando semanticamente, ognuna di questa si sottrae all atrappola della definizione o non definizione di sé. L'"artificio delle temporalità" tra musica colta occidentale e il dato extraeuropeo, con la sua diversa percezione della storia, ispira l'intero ciclo per un convivere di identità stimolate al movimento non solo dalla trama delle storie del passato ma anche e soprattutto da sempre più compromettenti e politiche ipotesi di futuro. Il CD "Dépaysements" si compone di 10 tracce: 1: Maftir (2003) per viola da gamba sola, 6' 46", viola Hille Perl; 2: Mizmor (1999) per pianoforte solo, 4' 48", pianoforte Cristina Barbuti; 3- 6: Le divan oriental-occidental (2002) Quatre chansons pour voix et piano, soprano Linda Campanella, pianoforte Cristina Barbuti 3: Ad'h'â at--tanâ'i (testo di Ibn Zaydun), 7' 14"; 4: Gestern mittags (testo di R. M. Rilke), 4' 59"; 5: Gingo biloba (testo di J. W. Von Goethe), 6'07"; 6: L'âme que l'amour ne connaît (testo di Rûmi), 4' 49"; 7: Dhil (2004) per contrabasso solo, 7' 59", contrabasso Willy Merz; 8: Pardes (2003) per percussione sola, 13' 34", percussioni Thierry Miroglio; 9 Dung (1998) per faagotto solo, 5' 33", fagotto Diego Chenna; 10: Reng (2003) per viola sola, 7' 48", viola Danilo Rossi. [post_title] => Pardes [post_excerpt] => Willy Merz è compositore, direttore d'orchestra e contrabbassista. Diplomatosi in Contrabasso e in Composizione presso il Conservatorio di Torino e in Direzione d'Orchestra presso il Conservatorio di Milano, si è perfezionato all'Accademia Chigiana di Siena con Franco Donatoni, all'IRCAM di Parigi e con Fernand Leitner in Direzione d'Orchestra. Nel 2003 è stato preiato dal "Councours international de Composition" di Friburgo. Sue composizioni sono abitualmente eseguite in importanti Festivals europei e diffuse su France Culture, Suedwest Rundfunk e RAITRE. Nel 2003 la sua opera "Ulysses" è stata eseguita presso il Teatro Colòn di Buenos Aires. 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