Atlantidee #2

53m18s

Con la partecipazione di: ৺ ෴ ර ∇ ❃ ﹌﹌

Curata da: Giada Olivotto & Camilla Paolino

In onda da: autunno 2022

Transcription

Opening/closing song: ⋆｡°✩ Giuni Russo, “Mediterranea,” 1984 ✩°｡⋆

Dear listeners, good evening! Welcome back on CANALE MILVA: the radio-web channel that since the summer of 2020 invites a number of women visual artists to explore the format of the sound exhibition, always taking as a starting point one gem of Italian music selected for you by Giada Olivotto and Camilla Paolino.

“Atlantidee,” in this sense, is a bit different from the other columns, because it is not precisely dedicated to a specific Italian song and/or singer, but rather deals with maritime cultures more in general, centering on legends of underwater or underground worlds that invite us to imagine possible alternative ways and forms of life. In other words, this column and the related sound exhibitions are meant to set us wondering on the revolutionary potential of tales and stories that deal with submerged worlds and their legendary inhabitants. Tonight, to be closer to the sea and hear its voice, we broadcast from the Trieste Riviera.

For this second episode of the “Atlantidee” column, we invited a polymorphic study group founded in 2020 between Palermo, Naples, and Berlin, whose name is unpronounceable, being composed of symbols (as follows: ৺ ෴ ර ∇ ❃ ﹌﹌ ). The collective is composed of Sonia d’Alto, Sofia Melluso, Nao, Susanna Gonzo, and Claudia Gangemi. Their intent is to explore the intersections of feminism and the Southern question by reworking historical myths and traditional narratives, in order to create multi-temporal alliances with the present. Their approach involves the use of the dialogic form and self-education as collective practices of imagination. The methodology they explore as a group consist of “listening to a place”: its landscape, its past and future memories, its human and nonhuman inhabitants, its dream substrate. So, listening to all this and engaging in a dialogue with it. Their explorations take place through collective exercises, such as “autocoscienza,” collective writing and drawing, group readings, field recordings, sound meditations, self-hypnosis exercises, rituals, and psycho-fables.Together, the five worked on the composition of a sound piece divided into four parts, meant to take us on a sail through an archipelago of sound fragments. These multi-voice and verse fragments are inspired by a seaside vacation spent on the Isola delle Femmine and Scicli. The mix of mythopoetic suggestions we are about to listen to might lead us back to images such as dancers under ketamine, mysterious rituals, and mermaids who, instead of singing, cook underwater.

Without further ado, let us listen to the four fragments of the sound piece “Il passaggio alla terraferma non è un processo irreversibile” (the transition to mainland is not an irreversible process), with its mythical places and its hybrid and mutant creatures. Enjoy your listening!

⋆｡°✩ ৺ ෴ ර ∇ ❃ ﹌﹌, “Il passaggio alla terraferma non è un processo irreversibile,” 6m52s + 3m + 8m55s + 3m ✩°｡⋆

Many thanks to the collective ৺ ෴ ර ∇ ❃ ﹌﹌, composed of Sonia, Sofia, Nao, Susanna, and Claudia, who worked on the sound piece titled “Il passaggio alla terraferma non è un processo irreversibile.” If their sound piece has intrigued you, you can pin two titles from their library: “Ragazze Anfibie,” taken from “Femminismi futuri. Teorie, poetiche, fabulazioni,” edited by Lidia Curti; and “I miti allo specchio. Riscritture femminili liberamente ispirate al mito,” edited by Sara Manuela Cacioppo, Giovanna di Marco, and Ivana Margarese. This is the end of this second sound exhibition of the “Atlantidee” column.