Curated by Carlo Fatigoni
How has sound progressively freed itself from rules and codes to be investigated as pure vibration? How did the new electronic technologies give impetus to the birth of innovative artistic languages that included sound manipulation? From silence to noise, from phoneme to instruments, up to the infinite possibilities of technical reproduction, the exhibition describes how, over the years, sound has permeated artistic fabrics in a capillary way, contaminating cinema, art, choreography, literature, publishing and mass media.
From the works of the great fathers of sound experimentation of the Sixties, Luciano Berio and Bruno Maderna, to the happenings inspired by Fluxus, John Cage and the Gitai Group; from the sound poems of Maurizio Nannucci to the audiovisual environments of Ugo la Pietra and Gruppo T; and again the experiments and the first festivals of the seventies, Punk and Carmelo Bene, the spread of computers and the first interactive works of art of the eighties up to the present day with excellent collaborations such as that between Mimmo Paladino and Brian Eno. All this to tell the sound experimentation in Italy from 1950 to 2000, in a path hosted in the hall of the museum in the space dedicated to the archives.