ARTIST OF THE MONTH
WEDNESDAYS + SATURDAYS at 9pm
Berlin / NY / Shanghai Time
Michele Spanghero’s artistic research focuses on the relationship
between space and perception investigated through sonic arts and photography.
«always on the swaying scales of balance»
R. M. Rilke
"My research focuses on the acoustic art, declined in the form of music or sound art, and on visual art in the attempt to find a natural synthesis (non synaesthetic) between these two forms of expression.
The methodological approach characterizes my work through a continuous survey of the limits of the media: through the study of music and theater, I have indeed acquired an oblique approach that, usually starting from the sound, becomes instinctively tangential to visual art.
The creative act is developed by a reaction to the accumulation of information that surrounds us. From this (formless because always mediated) mass of data, starts for me the impulse to research and test a new semantic system of the pre-existing matter." Michele Spanghero
ABOUT THE ARTIST
Michele Spanghero has exhibited his works in various international venues such as Darb 1718 Center (Cairo), Museum of Modern Art (Istanbul), MAGASIN Centre National d’Art Contemporain (Grenoble), Stroom Foundation (The Hague), Festival Tina-B (Prague), Vžigalica Galerija (Ljubljana), Mestna Galerija (Nova Gorica), Academy of Fine Arts (Cincinnati), Navy Pier (Chicago), Italian Embassy (Brussels), Mart – Museo d'Arte Trento e Rovereto, National Gallery of Umbria, Bevilacqua La Masa Foundation (Venice), Tempio di Adriano in Rome, Galleria Civica (Modena) and 16th Art Quadriennale (Rome). Spanghero was awarded the Premio In Sesto international public art award (2015), Blumm Prize in Brussels (2013) and Premio Icona (2012). His works are part of both private and public collections, such as La Gaia Collection, Finstral Collection, Mart – Museo d'Arte Trento e Rovereto, Ettore Fico museum in Turin and Parc01 in Siracusa.
ABOUT THE WORKS
The video Monologue shows the process of ambience recording of the empty Teatro Regio in Parma (one of the world’s most important opera houses): the layering of the sounds makes the theater resonate. With silence the theater is in darkness, but, as the sound rises, the lights slowly grow up to reveal the theater and, in backlight, the artist alone on stage thoroughly listening to the sound – the monologue – of the theater.
The musical performance Audible Forms interacts with the “acoustic casts” of the plaster statues exhibited in Mart museum (Rovereto, Italy). Microphones inserted inside the cavity of four statues recorded the resonance ratio between the negative spaces (interior and exterior) of the sculptures, so as to create what can be called an “acoustic cast” of the four statues. A singer is standing on the pedestal among the statues and sings on the frequencies of the plaster casts, creating a musical interaction between the sounds of the statues and the performer; the voice is sampled by live electronics and reprocessed so as to create, in the end of the composition, a chorus of voices as if all the statues of the room were singing together.
The installation "replay" is the result of a process of acoustic space analysis through the physics of musical instruments. The typical situation of a rehearsal room was recreated in great detail, with causally dropped off instruments; yet whoever played there was not a rock band. A musical composition was created starting off with the audio recording of the resonance of the room: those frequencies excited the guitars generating feedbacks, whose sounds were modulated via computer and analog devices, so that the guitars and amplifiers could produce sounds without the need of performers or to be played by any musicians.
A medical machine for pulmonary ventilation plays a musical chord on a few organ pipes, to the constant rhythm of the automatic breath. The action of this artificial organ generates a friction of meanings that connects with the will and responsibility of those who start – ad libitum – this mechanical requiem, a metaphor for a limit that men delegate to technology.
The title of the work "Ad lib.", an abbreviation of the Latin expression “ad libitum”, is a musical caption that gives the performer discretion of interpretation, allowing for instance to repeat “at will” certain bars of the score. The Latin expression “ad libitum” literally means “at the discretion”, “at will” and is generally used to express the freedom of a person to act according to their own judgment in a given context.
"dià" (from greek διά, through) is a sculpture installed on a piece of no man’s land on the top of Mount Pal Piccolo (1780 m) on the border between Italy and Austria, where World War I was fought. The doubletrumpet shaped sculpture symbolically connects, both visually and acoustically, the first lines’ trenches. Two arched doors, that refer to the entrance of the shelters and trenches, turn into cavities to listen or observe the surrounding landscape. The work, conceived as a symbolic link between the two fronts, combines the dimensions of silence and sound: "dià" is indeed a device that invites audience to interact with the two cavities as a megaphone or a peephole, to start an intimate dialogue through the sculpture. The project was commissioned for Walking Art project curated by
Michela Lupieri and Giuseppe Favi.
The project Pebbles for San Vito’s Castle was inspired by the water that no longer flows in the moat, but that has left debris on the riverbed as well as pebbles of the Tagliamento River. A group of rusty metal hemispheres, each of a different size, emerge from the moat’s bed among the pebbles. The installation shows its musical nature only when children and people interact with the metal hemispheres: like bells, the metal pebbles will give a unique voice to the moat of San Vito’s Castle and may be used as musical instruments to play abstract melodies.
Audible Forms, 2016
The sound installation "Audible Forms" continues the project began in 2013 at MaRT Contemporary and Modern Art Museum of Trento and Rovereto (Italy), with the aim of analyzing the relationship between form and sound, sculpture and matter, making forms somehow audible. It is a common practice for sculptors to listen to statues to seize the response of the matter. The project created for Museum "Revoltella" Contemporary and Modern Art Gallery in Trieste (Italy), comes from this ancient craftsmen’s practice: it entails a selection of sculptures by Mascherini and Rovan that are part of the collection of the Museum and the recording the bronze frequencies to analyze the harmonics, so as to find – metaphorically – the voice of statues.
The sculptures were placed in the Hall designed by architect Carlo Scarpa, to form a silent choir. At the center, four modified microphones diffuse the recorded sounds like distant echoes sung by the statues.
The sound sculpture "Echea Aeolica" is a big resonating amphora designed to sound the wind that blows from the shore in Syracuse (Sicily) where it’s permanently installed in a city sculpture park. The
shape of the sculpture derives from ancient “echea” amphoras as to create a connection to the ancient history of the land as if it leads an echo from afar. The clean modernist shape gives solemnity and soft coziness to the work inviting the audience to put their ear close to the sculpture to listen to the resonance of the wind and the sounds of the surrounding ambience.