http://www.pt-r.com/ pietro riparbelli en http://www.pt-r.com/News.asp?id=330 Bob Drake's recordings within Cathedrals project http://www.pt-r.com/News.asp?id=336 “Cathedrals” (pietroriparbelli.bandcamp.com) is a sound archive born in 2006, conceived and developed by Pietro Riparbelli. Opened to many artists and researcher’s contribution, up to now it has tens of hours of field recordings, captured inside cathedrals and other sacred places of Christian tradition. A selection of the field recordings of cathedrals, basiliche, Italian shrines, edited by Riparbelli himself, gives birth to “Italian Cathedrals, Sound Archive 2006 / 2014”. "Half-human, half-divine, these places show their complex essence through the recordings of the archive. Tourists and children’s voices, reverberations with sacred flavor, hyms, Masses, sounds from the street that enter shyly from church portals come in succession in the recordings. Through listening we experience these places not only as works dedicated to the glory of Christianity but, as Fulcanelli said, also as “a vast conglomerate of ideas, trends, popular belief, a perfect combination to which we might refer without any fear each time is needed to examine in depth the thoughts of the ancestors in any field: religious, laical, philosophical or social”. The whispering, choruses not always perfect and various sound interferences could move the listener away from a desire or an expectation of spirituality, but the real teaching of cathedrals it might be exactly to train and sharpen the perception. These places, in that sense, can prove to be great teachers, and these recordings are the perfect mediums for that purpose. For those who have a good and sensible ear, it will be possible to feel the sacred, thanks to a feeble and intimate prayer that we can perceive under the tourist’s voices or through a not very impeccable chorus that, in a moment, turns perfect in his praise. Riparbelli’s sensivity in dealing with these sounds make the listening of these three hours intensely experiential. The sounds are selected and edited discreetely. As Medieval architects themselves, Riparbelli seems to consider how much important is to subordinate the technique to the idea, demonstrating once again that his study is directly linked to a research on his being. " (Andrea Penso, Kirlian Recordings) http://www.pt-r.com/News.asp?id=328 Massimo Bartolini and Pietro Riparbelli Sound Performance @ "THERE IS NO PLACE LIKE HOME" Rome http://www.pt-r.com/News.asp?id=334 “Work comes out of work”, Richard Serra does not stop to stress concerning the various modes of his artist enterprises, be it sculpture, film, drawing or print. With 'Intimacy' sound artist Pietro Riparbelli proves that from the factual labor and workspaces of contemporary artists work evolves into new and unprecedented art. Post-minimal with respect to the process art aspects of production, Riparbelli recorded eight artists at work in their studios, complete with their spoken reflections, discussions and the physical act of material creation. Work does come out of work – more so even: the mostly silent gallery walls, the sound levels there rarely rising above hushed speech, the art itself inherently mute, are activated by Riparbelli's sound art piece 'Intimacy'. The objectified white cube walls of the gallery turn out to be teeming with hustle and bustle and loaded with subjective narratives. Not only does Riparbelli project creation into the gallery space, he also draws poetic lines from the artist to the viewer – in this case listener. Riparbelli does not only literally bring us closer and more intimate to the artist at work, in the studio. He also reflects on a wholly different nature of art process practice: the intimacy of hearing. One can close the eye, shut out light and turn off from seeing artworks. Totally closing off the ears is impossible. Experiencing sound art is a much more intimate act than viewing visual art. The aural mental image is profoundly direct, pure and unmitigated. Intimate even as the projected 'image' only forms in your head and not in a perspective proportion before your eyes in terms of color, material, distance, scale et al. Seeing registers from perception in front of the viewer; hearing is all around. Seeing is external; hearing is internal. Riparbelli's work brings the poetic inspiration of the creation of an aural image, experience or understanding of his work directly to the listener, therewith instantly and profoundly activating imagination on a process art plain from external to internal between the artists, the sound artist, the sound art piece and the listener; conceptually but also and very much so tangible, bodily: the haptics of the poetics of space. What you hear is not what you see. Riparbelli presents processes. He does not propose soundtracks to the artworks. This is not illustration, but a poetic dialectic akin to his Cathedrals project in which Riparbelli examines the architecture of the churches with full focus on the sounding environment of the building, sounds in space and resonances. With 'Intimacy' Riparbelli portraits the artists at work as a positive aural space, drawing attention to process and dialogue, to trial and error and all that aurally surrounds the artist and all of us. As in Rachel Whiteread's casts, this sound art work details the spaces most likely overlooked or overheard (or not even heard to start with) and presents these as full forces of time and matter, histories in and of themselves. These are by no means negative spaces or residues. These are shown to be various instances of the locus of life lived and creation therein; the 'toto' of which the artwork is but a single detail, a shard, a 'pars' – the artwork as the glimmer of an afterimage of the whole of creative activity. Still: 'Intimacy' itself presents itself as an afterimage, a recording of the flux of creation, detailed and etched in recording material itself dematerialized in playback in the gallery space, with the concluding record itself being a once again material recorded afterimage of the afterimage and yet in no way a distillation or dilution of original creative instances themselves, but quite on the contrary a marked affirmation of continuous creation that can and will only take form in the form of triggered active imagination through the sound art piece. A totally new work came out of work. New work that is in a constant state of subjective assessment and intimate poetical reflection. Pietro Riparbelli is an Italian philosopher, composer and sound-multimedia artist. He has released compositions under his own name and as K11 en PT-R. With Michele Ferretti (Nubilum) he forms the duo Zone Démersale. Riparbelli's work has been released by Touch, Gruenrekorder, Old Europe Cafe, Cassauna and Geräuschmanufaktur. Riparbelli lives and works in Livorno (Tuscany), Italy and works works with the Enrico Fornello Contemporary Art Gallery. Riparbelli is member of A.I.P.S. (Archivio Italiano Paesaggi Sonori). http://www.pt-r.com/News.asp?id=332 Intimacy è un’installazione sonora, che nasce dall’idea di realizzare ritratti di artisti contemporanei, attraverso registrazioni audio effettuate nei loro studi. Nell’installazione saranno riprodotte contemporaneamente le sorgenti sonore registrate negli studi di Massimo Bartolini, Gianfranco Baruchello, Paolo Masi, Margherita Moscardini, Silvia Serenari, Emanuele Becheri, CCH e Federico Cavallini; per creare una composizione sonora in continuo mutamento grazie alla compenetrazione delle singole tracce diffuse nello spazio Carico Massimo. http://www.pt-r.com/Events.asp?id=100 CONCERTS IN THE DARK HIDDEN CURRENTS Saturday May 26th / Sunday May 27th / 5:30 pm in the Studio des Schlosstheaters This year’s Concerts in the Dark are all about “hidden currents” - sounds which come out of some shadowy place, whose origin is unclear. In some cases they explore the sounds generated on the sidelines of music - noises generally viewed as interference or audio by-products: the hiss of tapes that are slowly disintegrating or the buzz of an amplifier before the first note of an instrument is heard. In others they attempt to make audible sounds that are usually difficult for the human ear to hear, like those produced by bats in echolocation. John Duncan (us, it) Ronnie Sundin (se) K11/Pietro Riparbelli (it) Lasse-Marc Riek (d) Seth Nehil (us) Curator of the concerts in the dark: Till Kniola/aufabwegen Free Entry! Venue: Studio des Schlosstheaters Moers, Kastell 6 http://www.pt-r.com/Events.asp?id=97 Pierre Bastien: Toy instruments & Seth Nehil: Field recording compositions & K11/ Pietro Riparbelli: Sounds from old caves & catacombs Es wird verspielt in der Reihe Geräuschwelten. Mit dem Franzosen Pierre Bastien kommt ein Künstler nach Münster, der experimentellen Entdeckergeist und Klangtüftelei in die Clubs gebracht hat. Bastien frickelt mit selbstentworfenen kybernetischen Apparaturen und lässt diese ihre eigenen Beats klöppeln. Mit diesem Ansatz hat er es bis auf das Label von Aphex Twin, Rephlex, geschafft! Kontrastreich stehen diesem Konzert zwei weitere Gigs zur Seite. Seth Nehil ist Theoretiker und Vordenker der Field Recordings Szene: Er schafft eigene Kompositionen ausschließlich aus Geräuschen der Umwelt, die er neuartig zusammensetzt und kombiniert. Der italienische Künstler Pietro Riparbelli aka K11 erforscht die klanglichen Eigenschaften von Grotten, Katakomben und Kathedralen indem er in diesen Räumen extreme Frequenzen und elektronische Klänge abspielt und anschließend wieder aufnimmt. http://www.pt-r.com/Events.asp?id=95 Pietro Riparbelli @ Mulino Pacifico Benevento http://www.culti-var.org He tries to come to us è una performance audio visiva ed allo stesso tempo la dimostrazione di un’indagine effettuata all’interno dell’ex manicomio di San Gerolamo a Volterra con particolare attenzione per il lavoro lasciatoci dall’internato Nannetti Oreste Fernando, N.O.F., che ha graffiato per anni l’intonaco nel cortile esterno del suo reparto, scrivendo e disegnando una storia complessa, apparentemente senza senso ma di sicuro un grande messaggio diretto verso qualcuno. La sua opera è terminata solo con l’esaurimento del muro. Il lavoro è composto di un video realizzato con telecamere radio e da una composizione sonora realizzata con sorgenti sonore e segnali radio ad onde corte registrati all’interno della struttura con l’intento poetico di stabilire un contatto con Nannetti Oreste Fernando. http://www.pt-r.com/Events.asp?id=93 SONIC SUBSIDENCE ambient|sperimentale|concreta Sonic Subsidence è una rassegna di musica contemporanea in cui è doveroso perdersi. Calendario: 28 ottobre | NETHERWORLD 26 novembre | ALESSIO BALLERINI 28 dicembre | PIETRO RIPARBELLI 27 gennaio | GIANLUCA BECUZZI 25 febbraio | HEIDSECK 24 marzo | DAMIANO MEACCI 27 aprile | NICOLA BUONO & LINO MONACO He tries to come to us è una performance audio visiva ed allo stesso tempo la dimostrazione di un’indagine effettuata all’interno dell’ex manicomio di San Gerolamo a Volterra con particolare attenzione per il lavoro lasciatoci dall’internato Nannetti Oreste Fernando, N.O.F., che ha graffiato per anni l’intonaco nel cortile esterno del suo reparto, scrivendo e disegnando una storia complessa, apparentemente senza senso ma di sicuro un grande messaggio diretto verso qualcuno. La sua opera è terminata solo con l’esaurimento del muro. Il lavoro è composto di un video realizzato con telecamere radio e da una composizione sonora realizzata con sorgenti sonore e segnali radio ad onde corte registrati all’interno della struttura con l’intento poetico di stabilire un contatto con Nannetti Oreste Fernando. http://www.pt-r.com/Events.asp?id=91 He tries to come to us è una performance audio visiva ed allo stesso tempo la dimostrazione di un’indagine effettuata all’interno dell’ex manicomio di San Gerolamo a Volterra con particolare attenzione per il lavoro lasciatoci dall’internato Nannetti Oreste Fernando, N.O.F., che ha graffiato per anni l’intonaco nel cortile esterno del suo reparto, scrivendo e disegnando una storia complessa, apparentemente senza senso ma di sicuro un grande messaggio diretto verso qualcuno. La sua opera è terminata solo con l’esaurimento del muro. Il lavoro è composto di un video realizzato con telecamere radio e da una composizione sonora realizzata con sorgenti sonore e segnali radio ad onde corte registrati all’interno della struttura con l’intento poetico di stabilire un contatto con Nannetti Oreste Fernando. SABATO 29 OTTOBRE 2011 dalle 21.00 Central Park via Annibale da Bassano 1 Padova http://www.superfluoproject.org/home.htm