Recorded live @ Siddhartha Art Gallery, Kathmandu, Nepal, on 01.08.2025.
Heartfelt thanks to Javier García Sánchez for the video.
This performance is an act of awareness of my own emotional and behavioral functioning.
It is a personal and not definitive attempt to describe a structural feeling of impermanence.
This feeling, dictated by insecurity and instability, at times complicates being present in the moment.
New places and new experiences may sound only exciting but sometimes they’re also heavy to live. Sometimes in the process we can end up immobilized because of the new challenges and insecurities that come with it, or that have always been within.
Focusing perhaps too much on the future (or in the past) in search of a safe, reassuring and illusory place.
Through this performance I try both to investigate these emotional states and to fight to break out of that immobility.
The title is taken from a poem by John Giorno. The poem was a key influence in shaping (and not shaping) the performance.
The performance is an improvisation on a self-built 10 channels prepared speaker setup.
All speakers were found during the residency in Kathmandu.
Using small ceramic bowls, kitchen metal containers, a drum, some nepalese rupees, Rudrākṣa and other traditional seeds the 10 speaker are prepared and give rise to heterorhythmic concatenations also modulated by the performer’s intervention. The sound produced is then captured by a microphone and processed algorithmically to be spatialized through the 10 speakers.
Recorded on 05/05/23 @Opendreamofficial, Treviso
Heartfelt thanks to Francesco Lughi and Lodovico Centurioni
Binaural audio please use headphones
Recorded on 29/04/25 @Fondazione Bevilacqua La Masa, Venice
Heartfelt thanks to Furio Ganz
Binaural audio please use headphones
Recorded live on 18/01/25 @Palazzo Bronzo, Genoa
Heartfelt thanks to Marco Augusto Basso and all the amazing people of Palazzo Bronzo
Recorded on 30/03/23 @Argo16, Venice
Heartfelt thanks to Francesco Lughi
Binaural audio please use headphones
Love Me Radically is an autobiographical reflection on emotional addictions: affective traps resulting from deep-seated imbalances, gaps that we attempt to fill by seeking in another person what we are looking for in ourselves.
Love Me Radically is the culmination, personal and not definitive, of this search.
Love Me Radically is the backlash of an individual raised on instability, who once rediscovered affection became addicted to it. To the point of collapsing on himself, fooling himself to use such feeling as a shield toward the insecurity that has alienated him from everyone and from himself.
Love Me Radically is a search for a collective, radical and unfulfillable embrace.
The audience is invited to get as close as possible to the performance instruments, almost to enter the "embrace" they describe on the floor.
Love Me Radically is an improvisational solo performance for DIY prepared multichannel sound system.
Using 9 recycled speakers, mostly from old cathode ray tube televisions, a multi-channel system was constructed with the most lo-fi characteristics possible. The speakers that compose it are placed without their sound boxes on the floor, so as to describe a half-moon open to the audience.
The performer interacts with the system in various ways, which alternate in an unscripted pattern during the performance. The speakers play algorithmically generated multichannel audio, spatialized in an automated manner between the various speakers. Since these are recycled speakers, the result is strongly non-linear and has colorations given by the specific characteristics of each speaker (or pair of speakers). In addition, the preparation of each speaker through various objects changes its emission characteristics, adding resonances and further filtering the generated audio. Speakers also reproduce infrasonic signal, organized through a sequencer. This type of signal is not audible to the human ear but is capable of exciting the membranes of the speakers, resonating the materials used for preparation: bells, rattles, coins, drums and metal containers are applied to the speakers, giving rise to heterorhythmic concatenations also modulated by the performer's intervention.
Exposed @ Ventunesimo, "through the window", Via Feletto 38, Turin
Executed @ Pase Platform, 12/05/21, Venice, for SaMPL, Living Lab Music 8.
We have intend the disintegration in a literal way: the speech, treated algorithmically, is progressively deprived of the conventional meaning attributed to words and phonemes. To achieve full autonomy of the sound material itself. In fact, the generation takes place by altering live various parameters of the algorithms. Through a free improvisation we try to explore the destructive/demiurgic possibilities in relation to sound language/autonomous sound.
The images generate feedback to the sound breakdown, segmenting the former Premier's face through machine learning.
The new images behave like a visual mantra, echoing the deprivation: even the name of Conte is canceled, it splits creating a tuple with a new meaning. Con/te (italian for With / you), but with the announcement of the lockdown the title lies ...
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