Silvia Rosani

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I need little to survive (2019), feedback and motors on metal panels.
Palazzo del Casale (Matera) - In Vitro residenza (LOXOSconcept) 1 - 15 September 2019
Photo credit Silvia Rosani
sound installation

https://soundcloud.com/silvia-ro-1/i-need-little-to-survive-extract-matera-2019


/// I NEED LITTLE TO SURVIVE (world premiere)
artistic residency program

Silvia Rosani [IT]

Within an anti-capitalist aesthetic approach, this installation is born to resonate with and celebrate the environment surrounding Matera. Visitors can listen to the sound of ancient local seeds, which bounce on a vibrating metal panel. These seeds give birth to plants that grow with little or no water, but are gradually disappearing because of powerful agricultural corporations. Feedback induces vibration on metal panels and the sounds they produce vary from simple sinusoids to harsh and noisy multiphonics. Similarly, the land around Matera is naturally generous, but at risk of desertification. The visitors can sit underneath or near the panels or group of panels, listen to their voices and perceive their vibrations by touching their surfaces. The technology used is reduced to the minimum. Only two speakers are used, but exclusively to amplify the nuances of the signals picked up by the contact microphones and reveal the inner world of rough materials.




Silvia's contribution to Kunstort ELEVEN Artspace at the Kunstmuseum in Reutlingen will stay in place between 22nd September 2019 and 19th January 2020.

The image on the side refers to the connection between pre-existing music and contemporary new works through the use of sound analysis.









Toy museum (Museu do Brinquedo) in Seia (Portugal) 

Dias de la Musica Electroacustica (DME) 28/12/2019








Sound installation at Goldsmiths Graduate Festival 2013 (London)


Site-specific sound installation during Die Lange Nacht der Museen in Stuttgart (March 2014).

Kai's machine

A collaboration with architect Kai Franz gave birth to the idea of a sound trip inside one of his machines. The listener is enabled to hear the sand dropping on the horizontal carriage of the machine or the noise of the wheels on which it glides, as if the ear was actually leant against that surface. For the recording a contact microphone was used so that for a while one is immersed in a narrow space like a box until, towards the end, the sound emerges to the perception of a normal space.

Studio 21

Steps around the Akademie Schloss Solitude and its surroundings describe the spaces of the studios, stairs, long corridors, exhibition halls and the path towards the heart of the forest through a surreal combination of physically impossible paths.