“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 Amsterdam, Paris, London, Helsinki, Zurich, Copen-hagen, Berlin, etc. I want to focus my attention on cities that offer a complex system for training and the practice of art and particularly for contemporary and technological innovations languages.
This series will be presented in private and public spaces as Foundations, Museums, Galleries and Arts Festivals; the Goal of RadioLondon is to record 1000 hours of one to one collaborative and experimental audio-documentary that will be available on demand in a Web Radio; the plan is to involve hundreds of people between Southern and Northern European countries.
This new project connects physical places to a digital archive of documentary audio portraits througth a program of performative and collaborative events which will be recorded and stored in a Web Radio. 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.
RadioLondon calls for a planning of itinerant sounds-workshops and the resulting contents will be avaible in an open and free-of-charge archive, which propose an alternative system of representation and documentation, based on emancipation, inclusion and self-cultivation. 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 is an opportunity to observe how the new generations of artists are overcoming the obstacles of the Great Recession of 2008; both from an individual perspective (subjective strategies) and generation (mass dynamics and trends). How are community relations structured? What are the new taboos? What impact does the economic crisis, political uncertainty and fear about terrorism in experimentation and innovation have in arts or technology?
As an ‘emerging artist’, it's important for me to look at what is happening within in my immediate environment, exploring notions of how it could be possible to continue an engaging art practice and be aware of my time. The project will act as part of a research topic exploring possibilities of how emerging art practices could survive in the geography known 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.
*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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