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.| File | Dimensione | Formato | |
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