mercredi 22 avril 2020


                                                                  Joël Hubaut, Fist Noise, detail, pencil and ink on paper, 2011
Frédéric Acquaviva


opera for voices, dead electronics & video, 69'
from 04.23.2020, h.12:00 - to 04.24.2020, h.12:00
on the new studioconcreto website that will be activated in conjunction with the event

Frédéric Acquaviva (b.1967, FR), sound artist and composer of experimental music, since 1990 has explored the relation between voice and language, sound and meaning, constantly overcoming convention and formats. In 2019 he composed ANTIPODES, opera for voices, electronics, videos, and possible actions (with Joël Hubaut, Dorothy Iannone and Loré Lixenberg). It is a kind of sound paraphrase that reminds the narrative division of the Divine Comedy (Hell-Purgatory-Paradise), and in this work Acquaviva becomes the mediator of the research of the artist and poet Joël Hubaut (b.1947, FR). Since the early 1970s, Hubaut has developed a reflection on art and societies focused on epidemics and contamination, and has constructed a rhizome-like process of signs and "epidemic writing" that has invaded all kinds of support, object, body, or place. 
ANTIPODES, a "pre-Covid" work that in the current situation gains the value of a premonition, has the function of a schizophrenic diegesis. We trace this diegesis both in the words and in the sections that characterise the work: they bring us to a fragmented reading of data, and the work switches between screenshots and long visual pauses, made by the three colours that symbolically identify the phases of the narration. ANTIPODES is not a consolatory composition, it hardly comes to entertain. Quite the opposite, it broadens the sensory tenets into a drift of serendipity. This drift subverts the temporal character of listening under the pressure of words, "stroboscopic" images and sounds that establish a direct relation with the body. 
The presentation text written by Frédéric Acquaviva for the event is clearly pointing out the relation between words and visual representation as a generative action of an extensible process. The text is an invitation to take part in the ANTIPODES experiment, presented in loop for 24 hours in the new web platform of studioconcreto, a buffer access space that we have chosen to name exscenario. Moreover, with ANTIPODES we have launched a series of artistic interventions in which we would explore the centrality of the desktop, a space that in this moment, more than ever, becomes a space for relations, information, work, and learning.

The online platform exscenario is financed by the project Scuola Popolare - sei performance di parola tra le architetture INA-Casa, a project that won the prize "Creative Living Lab - II Edizione" (2019) of the General Directorate for Contemporary Creativity and Urban Regeneration.

 Frédéric Acquaviva, sound artist and composer of experimental and acousmatic music, creator of “chronopolyphonic” installations, Acquaviva has worked on the notion of “oxymoron” and in the intersection of instrumental or voice with computer editing since 1990, living in Paris, Berlin and London. He sometimes includes videotexts or live streams, mixing a conceptual approach with physical body sounds. He has given 200 concerts in places such as Experimental Intermedia (NY), Deep Listening Institute (NY), ZKM (Karlsruhe), Huddersfield Festival (UK), Spor Festival (DK), Berghain (Berlin), MAAT (Lisboa), Festival Futura (Crest), La Fenice (Venezia), Palais de Tokyo (Paris) and had monographic radio diffusions on Radio France, Deutschlandradio Kultur and BBC- Radio 3. He worked with avant-garde poets such as Pierre Guyotat, Isidore Isou, Bernard Heidsieck, Dorothy Iannone, Henri Chopin, Jean-Luc Parant, Joël Hubaut and also with the mezzo-soprano Loré Lixenberg with whom he runs the magazine CRU and La Plaque Tournante. He is published by Al Dante / Les Presses du Réel and is represented by Satellite Gallery in Paris. His soundart multiples and records are in the Collection of Bibliothèque Kandinsky / Centre Pompidou (Paris), MACBA (Barcelona) and Beinecke Library (Yale University) as well as in several private collections such as The White Archives (USA).