L’orecchio di Dionisio
Arising from a moment as peculiar as the current one, the project L’orecchio di Dionisio evolved in an almost natural way; rather than an exhibition, it operates as a concrete and significant gesture at the center of which is the act of Listening. It aims to stand as a different presence within the ever-growing, accelerated proliferation of visual communication of these times, attempting to develop a “visibility of the invisible”.
This is a refounding act, a breath, a song to start anew from a unique moment perceived globally; an “offbeat” approach, an impulse to simplicity, a reflection upon which to rebuild. The immediate reference is to the Ear of Dionysius, a real place in Syracuse. The cave recalls the shape of the ear and the empty gallery spaces recall those of a cave. Acoustics and sound are the elements that bind them together in this project.
L’orecchio di Dionisio becomes a voluntary “interference” within the collective and international “noise”; a possible soundscape where images are evoked by sound and therefore neither defined nor enclosed by their presence and insistence.
The three gallery spaces each present a sound work by three artists: Miroslaw Balka, Simone Forti, and Marcello Maloberti. Therefore, the project investigates a possible and temporary new way to present a different experience, all within the gallery space, convinced of its indispensability as a place, after the artist’s mental and physical study, in which the first “founding elements of Art” occur.
In via Stradella 7 Simone Forti is present with a sound recording from one of her performances, Face Tunes (1968): the profiles of seven faces drawn on a large scroll unfold slowly from left to right, as if they were a “score”. The profiles were translated into sounds in real time through a slide whistle at the end of which was a rod. The performer, keeping the whistle parallel to the sheet, followed the profile of each face thus playing the instrument and creating the “composition”.
61 x 59 x 31 / Sereno è (2006/2017) by Miroslaw Balka becomes a declaration, a contradiction, a wish, a prediction, a hermetic poem. All this, and numerous other meanings, are released in the rhythmic intonation of the two words from Drupi’s song.
With Cicerone (2018) Marcello Maloberti takes us back to the past at via Stradella 4, speaking about Lorenzo Lotto. The words we hear describe a fresco that is evoked within the empty exhibition space. The walls are “painted” by the colors of the voice of the guide of the Suardi Chapel in Trescore (Bergamo).