THE MATTER OF RADIO de Jonathan Frigeri. Un projet mêlant des éléments de musique expérimentale, d’art sonore, de performance, de rituel. Une divagation entre le conte fantastique et l’expérience scientifique avec un glissement progressif vers l’occulte. Frigeri met en place un rite pour faire vivre une nouvelle expérience aux auditeurs entre hypnose et magie. Jonathan Frigeri est non seulement un musicien et un artiste qui travaille avec le son mais cʹest aussi un passionné de radio, autant par lʹobjet que par ce quʹelle permet !
Cité des Visitandines – Bruxelles
de Maxime Lacôme et Jonathan Frigeri
Où se situe la frontière entre le bruit dérangeant et le son musical ?
Belvédère Sonore is an imaginary structure built to take full advantage of the wind blowing through the pines or as a gazebo erected to enjoy the murmur of a fountain. During their residency at Q-O2, Jonathan Frigeri and Eric Desjeux have created music for three sculptures located in the city of Brussels, around the Place Sainte-Catherine. The presentation consists of a collective walk to experience the music in-situ.
The music for the sculptures will be broadcasted trough an FM emitter.
This project is about the exploration of places; the ritual in part forgotten and the new one that aggregates “different communities” (the young, the old, those who left, those who returned, those who never left). The inhabitants of a small village in South Italy are invited to come with their car in the central square of the village where a live radio show is broadcasted troughs an FM emitter. The sound and the voice of the show come out exclusively from the loudspeaker of each car, every spectator became a part of the show, became a speaker. The radio show, composed with the participation of a writer and another sound artist, is about stories related to the point of view of the audience when is seated on the car. It is about collective memories and disappearances, beliefs and ghosts.
The work aims to explore the idea of connection and provide keys to be more aware of our entourage, above all, the invisible and inaudible one. It is this, in between two states of consciousness, like the bardo or the hypnagogia or the trance, where we can also locate the radio transmission. What forces are hidden behind the electromagnetic world and what is its relationship with altered states, the trance? Could the radio be an enchantment tool used as an oracle to connect subconsciousness with unknown forces and reach ecstatic states? Are these dimensions parallel to our visible world?
The music on the radio is background and must support an existing structure and leave space for discussion, other sounds, other sound events. Une musique d’habillement that is not invasive and that allows other things to exist.
The radio imposes a passive aspect of listening, unlike the cd or the vinyl, which requires us to be operators in addition to listeners. The music that comes out of the radio does not depend on our will, we can only decide to listen or not to listen, but the listening in itself largely preserves the characteristic of an event whose programming is entirely under our control. It is the music that comes to us and not us who go to the music.
The real ritual is related to a liminal experience. It is an experience that is usually happening on the border of two worlds, two dimensions, two spaces. You are living something that is bringing you outside of your normal existence and changing your status or your belief forever. This is one of the paradigms to create a real ritual and the radio is already such a thing. You are already in a liminal state. You are between here and there, between the voice that is speaking to you from elsewhere and the place where you are as you are listening. You already have a connection with something that is elsewhere.
“The sounds I am listening to every night at first appear to be human voices conversing back and forth in a language I cannot understand. I find it difficult to imagine that I am actually hearing real voices from people not of this planet. There must be a more simple explanation that has so far eluded me.” – Nikola Tesla 1918
The sound connects me to a world from which i had disengaged. From an early age we learn to analyze sounds and collect information about the world, based on acoustic perception. Nevertheless, sound is still considered ephemeral, and listening to an environment or a city is rarely considered. In the forest, still a highly acoustic place, biodiversity is listened to rather than seen. This work is an attempt to analyse the sound landscape and remodel those same spaces. Its goal is to raise awareness of the sounds that surround us and yet which we no longer pay attention to, acting as if they were dimmed. It is an attempt to reveal a hidden layers of reality through the imagery of the act of listening. If you are disconnected from the awareness of the sounds, you risk being disconnected from your environment. Listening is a practice of life. The relation between listening and the land is the soundwalk. At the frontier between a poetic, ecological and spiritual act, the soundwalk is a practice, an act that relies heavily with the world.
GAME MUSIC – AN HOMAGE TO ROAMING AND SURPRISE
The music we usually compose has more often than not been solely based on the traditional narrative structure of beginning middle and end, the notion that the performance is going to be heard in exactly the order in which it was composed. In Music Hole the linearity is replaced with interactivity. Meaning that as a listener you can chose the order, the form or even influence the structure of the music.
RADIO FROM A BOOK AND MUSIC STORE
We occupy for an evening the new book and music store located at the Labo Art Gallery in Geneva. This store is composed essentially of independent editor active in the art book scene and in the experimental music scene. The radio show is composed exclusively with material founded in the store.