The essay examines the the first european exhibition on the relationship between sound and environment, Sonorità Prospettiche, first held in Rimini in 1982 and then re-equipped in different versions in Lugano, Ferrara, Bologna and Ivrea. The peculiarity of this initiative lies in the curatorial choice - taking part in the international debate on a possible definition of Sound Art - that reflects, beyond disciplinary boundaries, on circumstantial relationship between “sound” and “environment” through the exposure of unrealized (or impossible) projects and the staging of some performances.
Il suono e l’ambiente come circostanza. Il contributo della mostra Sonorità Prospettiche alla definizione di Sound Art / Malvezzi, J.. - In: RICERCHE DI S/CONFINE. - ISSN 2038-8411. - 2015, VI, 1, Le mostre:(2017 Feb 04).
Il suono e l’ambiente come circostanza. Il contributo della mostra Sonorità Prospettiche alla definizione di Sound Art
MALVEZZI, JENNIFER
2017-02-04
Abstract
The essay examines the the first european exhibition on the relationship between sound and environment, Sonorità Prospettiche, first held in Rimini in 1982 and then re-equipped in different versions in Lugano, Ferrara, Bologna and Ivrea. The peculiarity of this initiative lies in the curatorial choice - taking part in the international debate on a possible definition of Sound Art - that reflects, beyond disciplinary boundaries, on circumstantial relationship between “sound” and “environment” through the exposure of unrealized (or impossible) projects and the staging of some performances.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
