Some news from next Trasformatorio organization team.
Last week in Barcelona, in the premises of Hangar.org we participated in the first meeting of the EU-project “ITERATIONS”, with a delegation of trasformatorio.
A delegation was (mis)guided by your beloved Federico Bonelli straight from dyne headquarters; other participants were Irene Dominguez traveling from Trondheim, Giuseppe Morgana and Emanuela Ravida’ from Sicily.
Trasformatorio 2017 topic will be “situation based street art”.
The program of the lab is designed to establish the ground work’s basics in Scaletta Alta and to lay lines of the surrounding, studying the site in relation to artist’s personal work and to begin transforming it through art interventions. Art interventions will be in the form of plans, of talks, rehearsals and any type of production related groundwork. Everything will be documented. As participants of the Lab Trasformatorio, artists will share their methods and tactics among each other.
Some activities will be open to the public and the time of visit will be announced through billposting and the network.
The works of Trasformatorio lab will be closed with a formal presentation of the results the 1st of may starting at 11:00 in the Rocca.
All submissions were high in quality and was very hard to choose. We had participation requests from 15 countries.
We chose the following artists to participate in the works of Trasformatorio 2017:
(order of admission)
Also present to the works of Trasformatorio will be the following artists:
Emanuela Ravida’ (painter, visual artist, general organiser)
Zoe Romano (Maker, digital fabrication expert, Wemake.cc)
Rosaria Sfragara (Actress)
Maddalena Fragnito (Hactivist, Social Hacker)
Ninfa Clemente (Actress)
Fausto Casara (Musician, Producer)
Claudio Rinaldi (Musician, Producer)
Guido Gaudioso (Photographer)
Gabriele Asbesto Molesto Zaverio (Hacker, Radio Artist)
Manuela Trovato (Human Hub, Facilitator, Permaculturist)
Eva Polare (Permaculturist)
Andrea Tarda (Architect)
MORE PEOPLE EXPECTED:
Prof. Haytham Al Nawar (EG) Curator of Cairotronica and expert of contemporary digital art (unconfermed)
Chiara Dona’ Dalle Rose (IT) Curatrice BIAS e artista
Some activities will be organised with the help of our partner organisations and friends.
PROGRAMMA
19/20 April – Artists will be gathering to Scaletta
20 April – Presentation of the program and the artists to population and press- Rocca at 11:00 – free entrance
30 April evening – performance presentation in Scaletta Alta
1st of may – wrap up presentation and q&a
NB: Inhabitant of Scaletta are welcome to follow the works in various ways.
Some of the lab activities will be open to public and all creative processes might involve them if they wish.
Federico Bonelli
(Artistic director of Trasformatorio)
for press contact: Giuseppe Morgana — morgana.consulting(at)gmail.com (+39 320 8645367)
============== PROGRAMMA IN ITALIANO ==========
19/20 Aprile – Gli artisti inizieranno ad arrivare a Scaletta dalle 11 nazioni coinvolte
20 Aprile ore 11:00 alla Rocca: presentazione del Laboratorio e dei suoi partecipanti alla popolazione e alla stampa, ingresso libero
30 Aprile tramonto e a proseguire in serata – programma performativo in Scaletta alta
1 Maggio ore 11:30 alla ROcca: – Presentazione dei risultati del laboratorio e risposta alle domande della popolazione –
contatto stampa: Giuseppe Morgana morgana.consulting(at)gmail.com (+39 320 8645367)\
Together with the City of Scaletta Zanclea, in the person of the Assessora Daniela Di Ciuccio and the Cultural Association Siddarte from Milazzo, co-producing, we are proud to announce the third Trasformatorio in Sicily.
What it is?
Trasformatorio is an international laboratory focusing on practices related to site-specific performance. It’s objective is to integrate the practice of the Hacklab with the research over performative arts and sustainability. To do so trasformatorio rely on a integrated approach experimenting with artistic methodologies in a co-design setting, crafted according to a everchanging situation. Since 2016 trasformatorio is part of the experimental research projects hosted by dyne.org, a international foundation and think (and do) tank based in Amsterdam.
Trasformatorio intends to develop research, production and distribution of performances with innovative technical and artistic contents, envisioning new solutions to integrate sustainable technology in drama and through which viewers are confronted with themselves and the landscape. Shows and performances that can be prepared and delivered in any context, even off the theater and electricity grids. Shows and performances integrate a practice aimed to inclusivity, respecting the environment and human elements that interact with them.
Trasformatorio is reserved to professionals, artists, actors, musicians, designers, architects, set designers, video/film makers, photographers, students of applied arts, theater studies and fine arts. An equal number of spaces are reserved to Sicilian Artists.
The laboratory is held within the territory that explores, in harmony with the human population, the natural ones and the architectonics that hosts him. This edition will be held in Scaletta Zanclea, in conjunction with the local administration that houses us, using the “borgo” and the Castle tower “Rufo Ruffo”.
Why is relevant? Because the languages and topics of performance, when connected at the same time with technological development and the essence human and natural landscape teaches us important lessons about the future we want.
2017 Investigation theme: street play
What is now and is going to be the equivalent of street art? What are the allowed uses of common space, what are the unwritten rules for social engagement and communication? Why in place of a new babylon we have got a fence? Are we all individuals also in the public sphere? What can a hacker learn in this situation from a street artist, and viceversa?
Scope of the lab is to transform what it finds…
As in T#0 we will devote our time and effort in gathering information and contact with our new location and represent it into our cathegories to see what kind of inspiration will take form from living in the ancient town of scaletta and in contact with the inhabitants and their natural and artificial environment.
Designing, implementing and disseminating performances that are inclusive and sustainable, through the design of new entities, the revaluation of existing forms, the devising of situations and ways to live performance, in harmony with the natural and human environment that hosts it. So it will be.
The Location
Scaletta Zanclea (38°02′41″N 15°27′46″E) is a small municipality in the Province of Messina in the Italian region Sicily about 15 kilometres (9 mi) southwest of Messina. Can be reached easily from Catania International airport with the train. The comune suffered heavily in the mudslides which devastated the area in 2009.[2]
The splendid site, close to the sea of the Messina’s Strait and sourrounded by the Nebrodi Mountains is rich of historically and etnographic connections that will inspire the artists in their transformations: as an example the medieval feminist story of Macalda di Zanclea, the game of chess, the story of Morgana the Fairy, myth and landscape as you can find hinted into the history of Macalda di Zanclea…
See the shared map here: MAP OF SCALETTA
Open Knowledge
The research performed by the Trasformatorio will be documented online and distributed on open licences.
Trasformatorio favours open hardware and software development, freedom of thought and open circulation of ideas. Eventual collaboration works born in Trasformatorio are only required to keep this open access policy and quote trasformatorio in their communication.
Workshops and laboratories:
Application and development of personal skills on site-specific performance.
Trasformatorio ethics is that participants share and co-develop their skills into new ones. So all participants are therefore considered co-producers of the trasformatorio.
This is a research that has to be conducted within an ethic of exchange, responding to the specific environment (= people, history, space, nature) of Scaletta Zanclea.
Technical research on sustainability; joint exploration of tools and techniques that can be used for site-specific media-rich performances and development of found material into performative one within experiemntal dramaturgical lines are the scope of the lab. We aim to help to create techniques to allow a theatrical transformation on site and we are a guest of the community to wich we want to give back.
Research presentations, discussions, speeches, performances and installations can all be the means of dialogue: to create space for this is the scope of this first visit.
The practitioners’ explorations were presented at the end different audiences, in multiple ways, according to the content, character and state of development of ideas and performance material, without any obligation for the participants and will be documented on the site and all possible ways.
Establishing the basics, gathering food and all other material necessities:
On the locations where Trasformatorio was working and living. This very basic practical activity was considered and worked out as one of the means of ‘mapping’ the place. It worked as a key aspect for integrating with the local community and as a simple social glue between participants.
How to apply
Fill in and send your application before 1st March 2017 at fredd@dyne.org.
There are 15 places available.
What do we offer
All activities and workshops on site will be free of charge for the selected participants. The city will offer free lodging and food, all the rest will be at your own expenses. Trasformatorio will issue letters of invitation for the selected participants willing to apply for travel grants. The micro economy of the trasformatorio requires involvement, elasticity and patience. Is an experiment, a precious one in itself.
Partners
Trasformatorio would never be possible without humans. To start with, thanks to Giuseppe Morgana, Emanuela Ravida’, Manuela Trovato, Gabriele Asbesto Molesto Zaverio, Mikko Lajola, Guido Gaudioso… Many more will follow.
In italian: RADIO INTERVIEW on “Radio Start me Up” by Fabio Bruno (in Italian)
Un laboratorio artistico a cielo aperto: Trasformatorio sta arrivando!
From 9 july to 14th, In Macao, Milan, we held a short ẗrasformatorio event to crash design a trnsformator in the form of a table game that we named ¨le grand Jeu¨. The game is about the future of our society.The name of the game refers to the tongue in cheek name given to diplomacy in the 19th century. The secret treaties and aggressive colonialistic policies that brought the world to WWI. The table of the ¨big games¨ that us are in no way able to touch.
Playing the game within a group of people is, we found out, a great way to lay on the table progressive ideas about sustainability, a more robust economy, complementary currencies and renewable energy. Let players familiarise with them, try their own, and test te results in a common way. Moreover is fun.The Game design session has been lead by Federico Bonelli with the participation of Raffaella Ravida from Copenhagen Instituut for Interaction Design and Marco Sachy, expert in digital currencies (dyne.org) and Maddalena Fagnito, art director and activist from Macao. The game design own its shape to bravery of all players and fellow artists participating to the design sesisons and sharing points of view and ideas. Locally produced with bravery by the Macao team and Emanuele Braga.
Artists and activists joined in to test the game every day, allowing us to prototype six different iteration of the table game design in only 3 days.
I am also proud to mention the collaboration with wemake.cc, a spacious and gracious maker space in Milan, and the gracious permission from wood-skin.com to use one of their prototypes we saw hanging in wemake. This made possible the fantastic look of the game designed. For the first ever ¨le grand jeu” big match , held thursday in the big hall in Macao, 3 tables competed with standard rules getting to incredibly funny (end enlighting) results.
We absolutely don need a grand jeu coming from above, the real one is made by the sum of our smaller one. Or, at least, this is the actual working hipothesis.
Join in the jeu, for now on facebook and very soon in a play group next to you 🙂
Short: A table game allows to set a situation where concepts emerge from doing, players are by default considered as peers, become stakeholders of their local community. In the game were we can simulate different conditions and let behaviors emerge to get immediate feedback from the game environment. In a game all languages intermix, specialist terminology has to be translate, and stories emerge naturally. Stories are better than user journeys, they admit variations, link with personality traits and get nuances from situation to situation, they are to be told later, selected by memory and can be analyzed with calm, can lead to new ideas and designs.
An interesting historical precedent to this approach is included in the genesis of the world famous counterpart of Le Grand Jeu, MONOPOLI. Monopoli, that has tought traditional forms of capitalism to children since the ´30es had been originally developed to demonstrate the feasibility of socialist and progressive doctrines of Tureau by a woman, Elisabeth Phillips that patented it in 1903.
We are very happy to give space here to the news of the birth of a very interesting new project in the City of Palermo, connected to our spring activities by the participation of Andrea Kantos to the trasformatorio#1.
Dimora OZ is opening up to the world in style, and I am sure more collaborations and ideas will spur from this new center. Something is already boiling in the big pan…
So, let’s hear what they have to say about themselves and about their program. Opening is the 17th of July, all informations can be found here: on the facebook page. If you are in the area dont miss it!
big hup o/
On July 14, opens in Palermo Dimora Oz, one permanent laboratory for the visual arts and performance.
The project was born in the rooms of Palazzo Barlotta, where the mecenate Roberto Bilotti Ruggi d’Aragona have supported as he did in the past the artists.
The core of the project is the button coworking area, which houses a Kantos Andrea, Andrea Mineo, Alessandro Giglio, Claudia Di Gangi, Gabriel David Gandolfo, Nike Pirrone, Patrycja Stefanek, while Valentina Parlato are planned for 2014 collaborations with Federico Bonelli, Desideria Burgio, Vincenzo Amenduni, Precarie Editions, Rizma.
At the same time open to the public Oz House launches the first annual workshop: Origins. The workshop will be a reflection on the causal nodes subjective and collective identity, due to practical and relational positions; a “radical” is not intended as a look at the past (culture, styles, or historical processes), but as an inner revolution in the causal processes in which we are connected to the world, and somehow making sure that the latter will prove to be the space of awareness.
The laboratory Origins opens with the presentation of six works: Spare parts Alessandro Giglio, Axis Mundi Gandolfo David Gabriel, Dance Afford Claudia Di Gangi, Shockways Patrycja Stefanek In Your Future by Nike and Pirrone Nowadays, Palermo, July 16th 2014 Valentina Parlato.
Origins is a project on urban and cultural mythologies, the precarious state of things and the desire to pursue an artistic reflection that it is not merely self-referential but a cultural experience of a community that has the need for resources and suggestions. Dimora Oz is a project of placemaking, fits into the recontextualization of spaces making them active and dynamic cultural centers. The form of inquiry into the origins, it is often diverted one way on the past, while Origins, in the sense of relation, causality and determination, open aspects on the present and focus on specific problems and contexts The most modern and repeated.
OZ is an interdisciplinary laboratory dwelling, divided into design spaces: Co-working, Performance Space, Black Room, Living Expo, OZSelect and a laboratory of Green Design (with a hydroponic vegetable garden).
Il 14 luglio apre a Palermo Dimora Oz, uno laboratorio permanente di arti visuali e performance.
Il progetto nasce nelle stanze di Palazzo Barlotta, dove Il progetto nasce nelle stanze di Palazzo Barlotta, dove il mecenate e operatore culturale Roberto Bilotti Ruggi d’Aragona ha supportato – così come accaduto in passato – gli artisti presenti nello spazio.
Il nucleo pulsante del progetto è l’area coworking, che accoglie al suo interno Andrea Kantos, Andrea Mineo, Alessandro Giglio, Claudia Di Gangi, Gandolfo Gabriele David, Nike Pirrone, Patrycja Stefanek, Valentina Parlato mentre sono previste per il 2014 collaborazioni con Federico Bonelli, Desideria Burgio, Vincenzo Amenduni, Edizioni Precarie, Rizma.
Contemporaneamente all’apertura al pubblico Dimora Oz lancia il primo laboratorio annuale: Origini. Il laboratorio sarà una riflessione sui nodi causali dell’identità soggettiva e collettiva, determinata da pratiche e posizioni relazionali; una “radicalità” non intesa come sguardo al passato (cultura, stilemi o processi storici), ma come rivoluzione interiore nei processi causali che ci vedono connessi al mondo, e in qualche modo facendo si che quest’ultimo si riveli come spazio di consapevolezza.
Il laboratorio Origini apre con la presentazione di sei lavori: Pezzi di Parti di Alessandro Giglio, Axis Mundi di Gandolfo Gabriele David, Afford Dance di Claudia Di Gangi, Shockways di Patrycja Stefanek, In Your Future di Nike Pirrone e Nowadays, Palermo, 16 luglio 2014 di Valentina Parlato.
Origini è un progetto sulle mitologie urbane e culturali, sullo stato precario delle cose e sulla volontà di portare avanti una riflessione artistica che non sia meramente autoreferenziale ma un’esperienza culturale di una comunità che ha necessità di risorse e suggestioni. Dimora Oz è un progetto di placemaking, si inserisce nella ricontestualizzazione degli spazi rendendoli centri culturali attivi e dinamici. La forma d’indagine sulle origini, spesso viene dirottata a senso unico sul passato, mentre Origini, nel senso di relazione, causalità e determinazione, apre aspetti sul presente e focus specifici su problemi e contesti attualissimi e reiterati.
Dimora OZ è un laboratorio interdisciplinare, diviso in spazi progettuali: Co-working, Spazio Performance, Black Room, Zona Expò, OZSelect e un laboratorio di Green Design (con un orto idroponico).
http://vimeo.com/79451417
Fascinate Conference & Showcase 2013 – Falmouth University
several artists of Trasformatorio partecipeted to this festival: Emanuel andel;M. Eugenia Demeglio; Sara De Santis; Alberto Novello; Antoni Raizhekof
Federica Dauri collaboration with Guido Gaudioso during transformatorio has give as output a series of pictures that Guido is actively showing around. Same thing for a collaboration with Emanuela Ravida’. Emanuela has done some more site-specific work in the former prison of Rometta in June. We plan to get together again in Siracusa for some collective work in january/february.
Alberto has continued in the summer the work with Federica and Antony they started in Montalbano, with a residency in Amsterdam (STEIM and DANSMAKER).
Emanuel and Sara have worked together again in Wien and Italy, and Sara’s movement has been recently digitized in Frankfurt for a project called “the motion bank”.
Federico has given presentations of the work done at STEIM in Amsterdam (june), in Oslo and in Bergen during Piksel 13. He has kept collaborating with most of the artists involved, in particular with Federica Dauri, Alberto Novello, Elles and Sara.
His work has also given rise to a first output in Utrecht with the Roodnot group in a small setup work called “in absentia” together with Sara and Kirsten for the “roondtafel” in November.
Other?
write to me your follow-up montalbano-related experiences and I will post them here!
federico (guess) trasformatorio.net
THE GLITCH THING // EXPERIMENT #1 TWO TOWERS is an interactive projection mapping installation that allows the visitor to control the projection by moving his/her arms along with the body in the space in front of the two towers of the Castle of Montalbano, Sicily Italy. The images of the installation are generated in real time by those movements and create a unique and smooth flow of animation for each visitor, transforming him/her into participant and performer. The installation uses 3D sensor and motion analysis to track the visitor’s behavior and transform it into reactive abstract visuals with the help of VVVV. The interactive installation is developed by Antony Raijekov and supported by Trasformatorio #Zero.
Per Trasformatorio Aldo Cesar Fagà(alfa) ha progettato sei interventi, questo e’ stato esposto nella sala d’angolo del castello di Montalbano sia nella notte del 6 aprile che durante la presentazione del 13.
Dai primi anni ottanta, tra le altre cose, studia la possibilità di creare interfacce di comunicazione uomo/animale e il mondo del vivente in generale in contesti condivisi, concetto teorizzato con il termine “Sistemi ecolutivi” unitamente all’idea di intercettare energie e frequenze elettromagnetiche provenienti da grandi distanze.
In questo progetto/esperimento realizzato con la collaborazione dell’Istituto Nazionale di Fisica Nucleare-Laboratori del Sud, si tenta una interazione tra i fruitori e gli animali la cui presenza in questo caso, viene rilevata nelle profondità marine dal laboratorio NEMO, al largo delle coste siciliane a 3500 metri di profondita’ collaborazione con scienziati che, cercando di rilevare le scie di neutrini si sono imbattuti nei cetacei. In questo “Osservatorio” Suoni e versi sono il ponte tra la biologia marina e l’uomo che viene coinvolto in una installazione immersiva individuale anche mediante l’ascolto in cuffia e in un contesto sensoriale ampio. Le frequenze delle emissioni sonore sono contemporaneamente tradotte da un software per visualizzare lo spettro di frequenze audio. Si ha una ulteriore spazializzazione fornita dal radar che localizza luogo di provenienza e tipologia della emissione sonora: umana o animale, tipo di animale e rumore da fonte umana, rilevando quindi anche la presenza di fonti di origine antropica.
Aldo Cesar Fagà (alfa)
collaborazione:
Giorgio Riccobene,
Istituto Nazionale di Fisica Nucleare
-Laboratori del Sud
by Sara de Santis
This project is study of the memory.
The memory is seen not as a tool to preserve experiences and emotions, but as an obstacle to the development of the present. According to Greek mythology the birth of memory (Mynemousine) originates from the primordial sin of the son versus the father.
The memory was born to save from shame.
The shame causes pain, the pain needs to be expiated but there is no catharsis.
The memory stagnates fueling the cracks of darkness, the fall without limits, Erebus sine lux.
In the dark abyss tadalafil cialis from india dwell the shame of primordial memory.
The inability to manage the present is born from this kind of memory, the time becomes cyclical and freezes in a moment.
Individuals are “tied” to the past that makes the present anachronistic.
While the surface is pretending an apparent equilibrium, the Erebus surrenders to a stable-unstability.
Through the work on the skeletal system, i discover a naked body, forced by his bones’ and joint’s rhythm: a body that is not scarred to show its stall.
LINK:
https://vimeo.com/66231840
check also an impression of the backstage, with an interview:
https://vimeo.com/66245469
In a previous trip to Montalbano we met a local cheese maker, Ezio. He showed us how he makes a cheese called Provolone from the milk of his own cows
I was inspired by his work to explore cheese making in Montalbano and set to make my own version of the cheese from the same milk. Ezio gave me 30 liters of raw milk from which I made 12 kinds of soft cheeses in the shape of eggs. The installation was presented into the higher of the castle’s towers and fed to the spectators. After this, in collaboration with participant artist Emanuela Ravida, we shared a “milking” performance with the left over of the milk.
In response to my research, a very interesting gathering took place in the first week: an afternoon with the community’s elderly people, where they offered us to teach how to make traditional pasta. We shared songs, stories, local folklore and the get together ended up in spontaneous performances by the villagers and the artists alike, sharing of painting, dance steps, food.
What food means to me – preparing food is creating with all senses: I see, smell, feel, taste and hear. Is also sensuality, intimacy, vulnerability, power and womanhood.
“…and she ate his hart, then his liver and further the rest of his meat…”
In un viaggio precedente a Montalbano abbiamo incontrato Ezio. Ci ha mostrato come fa un formaggio tipico, chiamato provolone, dal latte delle sue mucche.
Il suo lavoro mi ha ispirato nell’esplorazione della fabbricazione del formaggio e mi sono proposta di fare la mia versione di formaggio a partire dallo stesso latte. Ezio mi ha dato 30 litri di latte crudo da cui ho derivato 12 tipi differenti di formaggio a pasta molle a forma di uovo. L’istallazione e’ stata presentata nella torre piu’ alta del castello e data da assaggiare agli spettatori presenti. Alla fine, e in collaborazione con una delle artiste partecipanti, Emanuela Ravida’, abbiamo usato il rimanente del latte per un gesto di “mungitura”, cospargendoci da capo a piedi.
In risposta alla mia ricerca un incontro molto interessante e’ avvenuto nella prima settimana: un pomeriggio con la comunita’ degli anziani di Montalbano, che ci ha offerto di insegnarci come fare la pasta tradizionale. Abbiamo condiviso canzoni, storie, folclore locale e l’incontro e’ terminato in esibizioni spontanee degli abitanti e degli artisti presenti, che si sono divisi dipinti, passi di danza e cibo.
Cosa significa per me usare il cibo- preparare il cibo e’ creare per tutti i sensi: vedo, annuso, tocco, ascolto e assaggio. E’ anche sensualita’, intimita’, vulnerabilita’, potere e essere donna.
“… e lei mangio’ il suo cuore, poi il fegato e infine il resto della sua carne…”
