Sunday 26 September at 3:00 p.m.
Concert hall of the Conservatorio B. Marcello
Giuseppe Chiari (1926-2007) Teatrino for actors, instruments, objects (1963)
Giancarlo Cardini (1940) Neo haiku suite for piano, flowers, lights, objects and two performers (1970-1979)
Lucas Carl Christ and Edoardo Micheli celebrating
Collettivo Rituale: Danilo Abiti, Alessandro Baglioni, Nicoletta Bencini, Maura Capuzzo, Lucas Carl Christ, Eleonora Costanza, Federico Costanza, Alba Dal Collo, Michele Del Prete, Daniele Locatelli, Edoardo Micheli, Filippo Perocco, Jozef Pjetri, Livia Rado, Teresa Rizzoli, Alessio Rossato, Gianantonio Rossi, Sara Tozzato, Riccardo Vaglini, Francesco Zorzini
conducted by Riccardo Vaglini
Collettivo Rituale is the name that Riccardo Vaglini gave to the formation he created at the Conservatory of Venice with his students and former students, with the purpose of discovering and presenting the repertory of the artistic avant-gardes of the Sixties and Seventies, first and foremost the historic neo-Dada Fluxus, an umbrella movement that gathered artists and experiences from various artistic fields, from music to poetry to the visual arts. After the first work, Vox (2009), a Fluxus repertory for non-professional voices that ranged from Yoko Ono to Castaldi, from Armikhanian to Chiari to works written specifically by the students from the composition classes, Collettivo Rituale decided to address the study of works problematically teetering between happening, performance and experimentation. From this experience, the Music Biennale presents two of the most singular works, the Teatrino by Giuseppe Chiari and Neo Haiku Suite by Giancarlo Cardini.
What do the verses of a poem found in a chocolate candy, a Beethoven sonata, the sound of a vacuum-cleaner, a report on the proliferation of anti-atomic shelters all have in common? The year is 1963: Giuseppe Chiari
, the artist-composer-philosopher who recently passed away, the year after he participated in the Festival of Wiesbaden as the Italian representative of the transnational Fluxus movement, drafted a sequence of captions called Teatrino
which he produced, with composer Frederic Rzewski, at the Avant-Garde Festival in New York. The actions for which the performers were given instructions, the declamation of texts cleverly subdivided into the sublime and everyday register, the performance of extremely simple musical scores at the embryonic stage, begin to delineate some of the more radical and innovative characteristics of Chiari’s future poetics: in addition to the conceptual sort of results, and way ahead of Joseph Kosuth’s chairs and hats, “Giuocare con l’acqua e dire la parola acqua” (“Playing with water and saying the word water”) is quite remarkable for both the transformation of the pages of the script into an aesthetic object, and the clarity and rigour of the texts that preludes to the later production of statements and slogans starting in the Seventies: “Art is easy”, “They made me do things that were stranger and stranger”, “Art will be for everyone and the word Art will belong to no one”. In all, twenty five actions in a work that I produced together with my students at the Conservatorio Benedetto Marcello in Venice following an unpredictable scheme of collective performance; and Collettivo Rituale is in fact the name that the group decided to adopt, with the intent of studying and presenting a repertory composed between the Sixties and the Seventies, a period characterized by a feverish climate of creative intensity”. (R. Vaglini)
was composed in 1979, based on a series of Fluxus style events written by the author in 1970, and later stitched together, with the addition of new images and actions, to form this work which is rather ambiguous, both visual and acoustic. The work appears as a sort of transgressive paraphrase of certain mysterious-sacral forms of performance, which relate in spirit on the one hand to a certain type of experimental micro-theatre, beyond words, and on the other to two Japanese artistic genres: Nô Theatre and Haiku poetry, hence the title, which contains an implicit reference to Neo-Haiku Theatre, one of the categories of performance included in the Expanded Arts Diagrams of Fluxus. (G.Cardini)