“The present is the instant in which the future crumbles into the past”
(Letter to Borges)
Project RadioLondon* consists of a series of sound sculptures and site specific sound installations which will form a gallery of portraits of artists that moved from Southern and Eastern to Northern Europe, especially in cities such as London, Dublin, Amsterdam, Paris, Helsinki,
Zurich, Copenhagen, Berlin, etc The goal is to connect physical places to a digital archive of documentary audio portraits following a program of performative and collaborative events which will be recorded and stored in a Web Radio.
For me it’s important to look at how emerging art practices could survive while wars, political instability and austerity measurements are still in place, resulting to major changes within the arts; these scenarios lead to a huge gap and become limiting and restricting for lesser known artists or projects that are currently still building their audiences, to succeed.
Project RadioLondon position digital technology critically through creative exchanges between people, materials and contexts that seek to open up questions rather than offer technological solutions.
This new project connects physical places to an archive of documentary audio portraits througth a program of performative and collaborative events which will be recorded and stored in a digital platform. I developed this idea after I moved to London to complete my studies. In recent years I've met many artists and artistic operators who have moved into the north European cities often to finish a training course or to produce new projects. I would like to invite artists who come from the South and currently studying or working in the arts in the most attractive Northern European artistic districts. Furthermore, I would like to connect artists from different disciplines (music, experimentation, visual art, contemporary dance, etc.) and from different countries; artists born and raised in some places that share the space and their time with others from elsewhere.
In other words, I would like to involve artists who are originally from other Countries (especially Southern and Eastern) and currently living,
studying or working in Northern Europeans Countries. Furthermore, I would like to connect artists from different disciplines, in order to attend to underexplored artists identities and my purpose is to produce a series of portraits of developers, pioneers and cultural activists who actually live the experience of immigration as a personal, social and political opportunity, and not as a gap.
Project RadioLondon calls for sculpture based workshop which will involve also sound art practice as a means of critically representation of mobility and art practice through collaboratively experiences an alternative system of representation: the public workshop is made by an artist and offered to other artists and meet local communities during a nomadic session of workshops giving the voice to different identities and practices, encouraging individuals and groups of people and involving them in multidisciplinary sessions of work. I’m at the early stage of defining the forms of the digital platform; the project is focused on the idea of storytelling as an experience that can be explored collaboratively, on trans-national patterns, for the contribution of an active citizenship through experimentation, interaction and engagement to artists and communities.
*Radio London (in Italian Radio Londra) was the name used in Italy for the radio broadcasts of the British Broadcasting Corporation (BBC), starting from 27 September 1938, aimed at the populations of German-dominated continental Europe. The idea may have come from the Italians themselves, as the Arabic-language broadcasts received from Radio Bari in southern Italy were very popular in the Middle East and North Africa, where British and French influence was predominant and where they soon acquired an attentive and interested audience in the local upper middle class. The BBC's Italian-language broadcasts began with the Munich crisis. With the outbreak of hostilities in 1939, Radio London's broadcasts increased, reaching 4.15 hours in 1943. The success of Radio London's broadcasts was because the British War Office, instead of managing their propaganda broadcasts directly, had entrusted them to a self-governing body, the BBC, which was already well known for its independent journalistic style, with news kept separate from comments. Radio London's editorial staff became famous for their timeliness in transmitting information around the world, with a direct and pragmatic, typically British style.
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