performances

WE SPEAK THE AIR WE BREATHE

2021


A choreographed sequence of white noise makes audible how sound propagates and interacts in relation to the architecture of the place.

The title of the work refers to the condition of interdependence that permeates all relationships. Streams of white noise become modified in relation to the surrounding physical space which sound encounters as it propagates. As we breathe the air we speak… drawing air inwards into our body and exhaling it outwards from our lungs back into surrounding space.

The performance in the video happened in 2021 but its first versions and research date back to 2014.

Performance: Davide Tidoni
Performed by Abigail Aleksander, Amber Meulenijzer, and Franziska Windisch
Video: Sander Tas with Davide Tidoni
Sound: Davide Tidoni

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HIGH TIDE

2020

photo by Katinka Meersy
A loudspeaker projecting white noise is slowly taken by the high tide. As the tide rises, the white noise gets modulated in relation to the movement of the water. As sound disappears, a feeling of separation and withdrawal fills the audience witnessing the loss.

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AS THE SOUND BURNS

2018
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A LOUDSPEAKER BLOWS UP AND FALLS APART

2017

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photo (1,2) by Pieter Kers | Beeld.nu
A loudspeaker blows up and falls apart. The silence that emerges after the explosion emphasises the transition from presence to absence…

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THE BLOWS FROM OUTSIDE

2016


A MICROPHONE IS TREATED WITH HOT WAX DROPS AND EVENTUALLY SET ON FIRE…

the mic is exposed
no armor to wear
facing the world
a punch in the chest
each touch is a mark
each flame is a trace
its body a map that accumulates
the sound it makes
a desperate cry
feeling all those blows
until it dies
photo by Katerina Tamvaki

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ALL OF A SUDDEN

2016

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A microphone is placed at the side of a road. A performer is positioned on the opposite side of the road and pulls the microphone from the cable. The microphone keeps crossing the road until it is suddenly hit by passing cars.

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HIT THE TARGET

2016

Catch me if you can

A performer walks in a space holding a snare-drum in front of his face. A thrower positions himself opposite to the performer and sets off a number of fire rockets aimed at hitting the snare-drum.

Catch me if you can


FROM A DISTANCE

2016


A performer walks on a mountain trail carrying a loudspeaker on their back.
The loudspeaker plays back a series of both fixed and sweep tones.
The tones travel to the ears of the audience and get modulated by 1) the directionality of the loudspeaker; 2) the topography of the place; 3) the wind force; and 4) their distance from the loudspeaker.

The piece has been performed at the mountain festival Alture, Val Trompia, Brescia. A runner carried a loudspeaker from Malga Pontogna (1384 mt) to the top of the Gölem mountain (1957 mt). A series of long sine sweeps alternated with silences were played back. The piece was about 45 minutes.

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FIRE FROM WITHIN

2016



A selection of firecrackers, fire fountains and fireworks are light up from within a drum set. The explosions grow up to the point where they cannot be contained anymore. The drum set gets on fire and burns down. The piece reflects on the dramatic end of a body (drum set) that has been fed with fear and doubts about realizing his/her right to self-empowerment and freedom.

MORE IMAGES HERE

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THREE DOGS

Intervention on Patelnia Square, Warsaw, 2016



Polish translation of Ronald Reagan’s joke about american and communist dogs. The audio was played back in loop for 1 hour on Patelnia Square, Warsaw on the 4th of july 2016 in the occasion of the NATO summit in Poland.
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Here’s story about three dogs.
An American dog, a Polish dog and a Russian dog.
They are all having a visit, and the American dog was telling them how things were in his country.
He said, “You know, you bark… after you bark long enough, then somebody comes along, gives you some meat.”
And the polish dog said, “What’s meat?”
And the Russian dog says, “What’s bark?”.
Ronald Reagan – President of the United States

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INTERSECTIONS

2015


A loudspeaker is installed on the side of a straight road and projects a constant stream of white noise. The loudspeaker is positioned in such a way that the projection of white noise is perpendicular to the direction of the cars. The audience stands on the other side of the road, opposite to the loudspeaker .

When a car drives on the road, it intersects the projection of white noise. In this way the audience can perceive a cut in the white noise. The sequence of cuts gets organized in relation to the number, speed and size of cars passing on the road.

The intersection between white noise and cars generates sound effects of masking, cut-out and cross-fade

Rough docu video here: https://vimeo.com/138603693 (password “ciao”).

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HOW FAR CAN I GET

2014
how far i can get

A performer swings a microphone in the air and loosen the cable a few more inches with each turn. The action continues until the cable is long enough that the microphone crashes against the wall.
The performance is a metaphor about becoming aware of one own’s limitations. The impact of the microphone to the wall represents the realisation of one own’s vulnerable nature.

Video – Research Material: https://vimeo.com/114553487 (password: “nevertoofar”)

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MY TARGET IS YOUR EYES

2014

A Slingshot And I photo by Luca Ghedini
A performer tries to hit a microphone with a slingshot. The impact of the hit is amplified and diffused at high volume from a loudspeaker. The amplification of the hit allows the thrower to experience the “sensitivity” of the microphone, or in other words: to understand and share the feelings of another body.

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