audio works

LA POLIZIA IN VALSUSA / Police in Valsusa

La polizia in Valsusa collects stories and reflections on the military occupation that the Italian state has been carrying out in Valsusa since 2005. The voices in the piece are from people inside the NO TAV movement, an Italian grass root struggle that, since the early 2000s, has opposed the construction of the second high-speed train line between Turin and Lyon.

The audio piece does not claim to be an exhaustive documentation of the many past and current incidents involving NO TAV and police. Instead, it tries to offer a picture, as candid and heartfelt as possible, of how the police and the army are perceived and opposed in Valsusa. This leaves room for broader reflections on the repressive nature of the state and the instrumental use of the police.

A Spanish version of the piece has been presented at Tsonami Festival 2022 in Valparaiso, Chile. French and English versions are in progress.


Ultras Karaoke is the karaoke version of a series of football supporters’ chants. The lyrics of the supporters are superimposed with a midi-track of the original songs the chants are based on. The chants that appear in this work are sung by non professional singers. Their voices have been recorded in informal studio settings, far from football stadiums. The audio work is the continuation of the homonymous video project that you can find here

recordings & mixing: Davide Tidoni
design: Davide Tidoni
silkscreen: Ilana Pichon
number of copies: 50
year: 2019
orders: write to baitabaita AT riseup DOT net


Ultras Mashup consists of a series of audio tracks in which football chants’ recordings are mixed with the “original” songs they are based on. The work reflects on the musical aspects of football supporters’ culture and supporters’ practice of creation through appropriation.

The work includes football supporters’ repurposed versions of Giuseppe Verdi’s opera theme Aida, Jewish traditional song from psalm 23 Gam Gam, Marcella Bella’s 1972 Sanremo Festival success Montagne Verdi, Walt Disney’s whistling theme from Robin Hood, northern italian folk song La Mula de Parensio, Coca-Cola jingle Buy the World a Coke, Dean Martin’s signature song That’s Amore, and Righeira’s 80’s summer hit L’Estate Sta Finendo.

The football chants used in the tracks have been recorded at the stadium and on away matches as part of my involvement with the ultras group Brescia 1911 (2001 – ongoing).

recordings & mixing: Davide Tidoni
design: Davide Tidoni & Marzia Dalfini
silkscreen: l’Appât
publisher: SARU Oxford Brookes University
number of copies: 200
year: 2018
orders: write to baitabaita AT riseup DOT net



This work documents part of the repertoire of the informal choir Canta che non passa (Our Singing Will Stop It). The choir is a spontaneous group of middle age/old people who are active in the NO TAV* movement in Valsusa, northern Italy. The choir’s repertoire consists mainly of protest songs adapted from preexisting musical sources, with new lyrics that have been created from scratch.

I recorded the choir during one of their rehearsals. Rather than positioning the microphone at a certain distance from the group and capture the multiplicity of voices, I chose to keep the microphone in my hands and point it to the individual voices of those members standing around me. This strategy was designed to stress the fallible and imperfect nature of the chorale and place emphasis on: 1) the singular/plural dimension of collective singing; 2) the vulnerable beauty of non-professional voices.

* The NO TAV movement is an Italian grass root struggle that, since the early 2000s, has opposed the construction of the second high-speed train line between Turin and Lyon. More info: brief history of the no tav movement and

Thanks to Mariano, Renato, Fulvio, Gianni, e tutt*.



The Sound of White Noise is an audio piece consisting of a series of instructions that are broadcasted on the radio and performed by the radio listeners at home. The instructions are about specific body positions and movements that the listeners have to perform in relation to the sound system they are using and the space where they are. A recorded voice gives the instructions and guides the listeners through the entire duration of the piece. Each instruction invites the listeners to interact with the white noise that is diffused through the radio. The movements and gestures that the listeners perform modify the stream of white noise that is diffused in the room and the way it is perceived.

The piece has been broadcasted on the 29th of April 2015 on Deutschland Radio Kultur. A french version of the piece has been realized in 2017 (produced by ACSR, Brussels) and received a mention at the Phonurgia Nova Prix Art Sonore, Paris 2017.

NON MOLLEREMO MAI / We Will Never Give Up

A 89 years old woman sings along with the musical motif of a well know football stadium chant. Her fragile voice clashes with the physicality of the music. Here’s the fight between life and death.


The material for this work comes from a tape cassette that I found in a derelict empty house. The material consists of a series of recording-tests performed by the woman who used to live in the house. The title of the piece – my loss will be your gain – refers to the accidental discovery of the tape after years of abandonment and neglect.

SINGLE STROKES – audio version

Two microphones are used as a pair of drumstick to play the snare drum. The recordings explore the physical properties and affordances of the microphone as an object. The work is part of a series of actions that investigate the practical materiality of the microphone and violate the basic rules and principles of audio technology. More actions here.


The audio work documents the encounter between me and Paolo, two amateur singers that accidentally meet on the street at night time. After a short introduction, the encounter turns into a back to back chanting battle. The street becomes the stage of a spontaneous performance; the chants, a way to discover each other.


Magnifying My Sphere of Power is an audio work where I sing and play drums along with a selection of my favourite hard core punk songs. The work reflects on the power of music as an emotional inciter, an agitator that animates physical energy and one’s own agency.


The work includes two recordings of two different music rehearsal sessions that I recorded in the halls of a music school. The musicians in the recordings practice their pieces and repeat them over and over again. Their perseverance encourages listeners to understand failure as a necessary step in the process of growth. There’s no mistake you can’t learn from…

Don’t you dare to go under
Don’t let ‘em steal your thunder
Listen to the sound
Well, let ‘em grind that down
Don’t let them bastards grind you down
Lemmy – Motörhead


In this work, my friend Helen and I sing along with a recording I took of St.Etienne’s football supporters group Magic Fans (St.Etienne vs. Toulouse, 2011). The piece emphasizes the contagious nature of chanting. Despite Helen not being a member of the Magic Fans, she gets involved quite easily and participates in the singing without hesitation.


An elderly man tells about his former career as amateur pigeon shooter. After telling about his prizes and victories, the meaning of his stories slowly comes to surface: the desire to remain somehow attached to his life memories and not be forgotten.


A retired hairdresser, a business man , a plumber, an accountant for the city council, a bird hunter, two young design students, a former real estate agent, a local urban planner… these are the people I interviewed on the main themes presented at the Italian Pavillion at the Venice Architecture Biennale 2010.

The piece was presented at the closing event of the Italian Pavillion, Venice Architecture Biennale, 21 nov. 2010.


On Christmas afternoon, a music band plays live at the nursing home of Carpenedolo, a small town in province of Brescia, Northern Italy. During the performance, the band invites some of the residents to go on stage and sing. What makes the residents’ voices unique is their emotional involvement and desire to participate, regardless of any musical compentence.