Scritti


Interferences of music and sculputure

by Valentina Lo Surdo

Project and Installation by Licia Galizia
Clarinet Compositions by Paolo Marchettini
with the participation of Mauro Tiberi - voice

Sound becomes Form
Since 2001, the encounter of sculptor Licia Galizia with clarinet player and composer Paolo Marchettini represents a language exchange and an enriching confrontation between the arts.

Mobile Modules on Fixed Systems
Recent works by Licia Galizia have been characterized by the use of galvanized metal rails applied on certain areas of the walls, on which are inserted enameled metal rails sliding over the fixed ones (unstable element). The installations of these fixed and mobile rails describe a fragmented and discontinuous geometric pattern. Paolo Marchettini distributes his score on the walls, before the sculptural intervention by L. Galizia, handwriting by pencil a long pentagram all around, as a unifying element of a series of sculptural fragments scattered on the walls.
The mobile rails, moved back and forth conceal or reveal parts of the musical score.
The continuous pentagram is infact a single music composition using the entire sound range of the clarinet, overtaking the space from beginning to end, starting with a pianssimo and culminating in a fortissimo. This lengthy musical composition therefore physically collides with L. Galizia's metallic sculptures and is obliged to unexpected interruptions of the musical flow yet integrates with the installations becoming part of them. Glimpses of sharp and softer sounds will alternate to silence when the wall is left unengaged by the sculptor.

Interferences
The performance or exhibition takes place while wandering through the installations like any spectator and stopping time and again in front of the applied metal sculptures or the blank walls. The visitor precedes the clarinet player and slides the metal rails so to conceal or unveil the musical score on the walls. The spectator thus becomes a performer himself and interferes with his actions on the music and on the sculpture, generating new sound s and shapes. The sculputre interferes on the music modifying the musical syntax fragmenting and interrupting it. The pentagram on which the musical line is embedded, interferes with the sculpture. In this endless dialogue and subsequent interferences between different language forms lies Licia Galizia's poetics: extemporariness, change and uniqueness.

The Poetic
The encounter with clarinet player Paolo Marchettini represents an upgrade in Licia Galizia's vocabulary, as it comprises simultaneously the fragmented formal element (the Systems) and the unifying formal element (the Course). The cohabitation of both these characters unique sign and single fragment is thus the peak of her aesthetic research by the use of the metal rails.
In Interferences the metal rail is not the only element embracing the space in a single line, as the continuity is also given by the long pentagram running all along the walls coordinating the fragmented formal element (the linear metal blocks) together. The syntax of the musical line is just the same of the linear metal blocks. Spacewise, the five lines of the pentagram, like the metal rails, draw the ralationship between unengaged and full parts on the walls. This equal exchange between metal rail and pentagram is further asserted by the fact that the long pentagram has been physically pencil-drawn by the hand of the artist. The thickness of the pentagrams is exactly the same of the metal rails, to underline their equal importance.
Paolo Marchettini's score follows the poetics of the cohabitation of the fragmented formal element (the Systems) with the unifying formal element (the Course).

TODAY
The new interference
A new intrusion appears in the 2004 representation of Interferences as opposed to the previous musical texture: the vocal performance by Mauro Tiberi. This soloist has thoroughly studied eastern vocal techniques. In this performance Tiberi finds his musical idioms not in the linear language designed by the Galizia's rails but in the projection of a circular/spiralling conglomerate on the wall. The reasons of this addition to Galizia's visual art is due to the nature of the music sung by Tiberi which is radically different from the musical played by Paolo Marchettini. If Marchettini represents the written western, perpendicular music where the melody line proceeds horizontally and the harmonic line vertically , Tiberi embraces eastern sounds, coherently to an oral (not written) and circular tradition. Eastern music is based on the circular intonation of the scale notes. This new figure on the wall will be stripped by the vocalist during his vocal cycle performance. Tiberi will in fact toss the mobile rails away unveiling the original sign designed by Licia Galizia in its entire purity.
THE FUTURE
Unchanged project in constant evolution
Interferences is a project in constant evolution taking on new aspects each time, but without changing its DNA germinated from Licia+Paolo. The next semblances of Interferences will also see the participation of a dancer, a painter and other musicians.