Contemporary art and music

a thought of Véronique Nah

When I found myself contemplating Giorgio Brogi’s installation for the first time, I immediately thought of how much music there was in his work, in fact so much that it could be defined as a magnificent chromatic score. Looking atthis elegant composition of coloured veils, it was natural to speak of colours orchestrated into a crescendo and decrescendo of shades, modulations of height and width generating a placid but vigorous rhythm, refined and effective harmonization of the transparency and opacity of fabrics. Immersed in this fascinating scenario I realized that I was listening rather than looking, experiencing the imperious seduction of a language without words. From the silence of this intense aesthetic experience unexpected sounds issued forth, far-off voices almost like whispers, the sound of trickling water in radiators, strange, inexplicable creaking noises. Suddenly, the space was no longer magnificently inhabited by the installation alone but also by an invisible world of sound, which unfurled according to mysterious rules: the sounds of the environment with their tone, intensity, duration, rhythm and, above all, their marvellous freedom of expression, had become models, traces to be elaborated to construct the musical universe of Ba Ba. The Ba Ba score consists of different sound universes which alternate and merge. The first, made up of computer-created recorded sounds, evokes the “sounds” that populate our everyday life, the second is a recorded human voice which, thanks to the exceptional singing performance, produces sounds that are hard to define. Two worlds with different vocations: one, that of sounds, which becomes music, and the other, the human voice, which becomes noise. A mobility of environments that echoes the subtle play of cross-references between painting and architecture in Brogi’s work. Then there is the universe of interpreters who with their precise and symmetrical movements produce striking and unexpected sounds: wisp of breath, the clapping of hands, the weird sound of bracelets the metal tinkling of peg-boxes, the swishing of costumes. Silence is also a structuring compositional elements of Ba Ba. Silence is a primordial condition for entering into close contact with every sound. In this score, vacuity has the function of exalting the apparent randomness of sound and confirming that, as in Brogi’s work, compositional solidity can be combined with freedom and mobility. The aim of BaBa’s musical structure is to ensure that the path of the sound waves which meet and interact each time suggests a different point of view on the fascinating installation: art has nothing to do with comprehension but rather with experience, affirmed John Cage, art is the marvellous attempt to open up our minds to unsuspected possibilities, unlike those that we like, remember and already know.



Childhood: a poetic choice

Alessandro Libertini
Véronique Nah
Chiara Fantini

For Piccoli Principi, working for children is a matter of preference: recourse to a precise symbolic universe, a lens through which to observe and evaluate reality. In this sense, children, or better, the child has been chosen as a travelling companion along that ideal journey towards the knowledge which is artistic creation.

In the Piccoli Principi theatre, the child is the interlocutor elect: the ideal spectator. Writing for children thus means opening up to the contributions that this particular public can bring to the work’s formation process. We all know how every work of art is the author’s creation only in part. What completes the rest is the recipient who uses it as spectator, reader or involved party, etc. and brings into it his own sensitivity, experience and culture. In view of the meaning or, shall we say, multiformity of meaning that the work intends to communicate, the type of audience for which it is intended is therefore no little matter. This is the reason why the choice of one audience over another is substantially poetic.

Childhood is something too complex to simply define as an age of “transition” to the adult age. An audience of children does not deserve the appellative of “tomorrow’s audience”, as it already possesses the quality of completeness today. Children are neither better nor worse than adults: they are just different.