The Ramo Collection presents from March 28 to April 3, 2022, at BASE Milano, Marginal Carillon, a sound installation created from a large work on paper by Eugenio Tibaldi (Alba, 1977) in collaboration with sound designer Taketo Gohara (Milan, 1975). The exhibition project is curated by Irina Zucca Alessandrelli.
In BASE’s Ground Hall, Tibaldi shows a long drawing rotating on a structure below. A three-meter drawn branch on which are arranged old sound contraptions such as a gramophone and a record player. Taketo Gohara created the sonic counterpoints to these lifeline anchors. He has devised many sounds that, based on the heartbeat, follow one another giving life to the soundtrack of the moving sign. The drawing will be activated, like a music box, by the presence of the viewer. Whoever approaches the work triggers a camera that detects the amount of ink on the paper turning into a note. Thus a harpsichord, a piano, percussion, bells, and a vibraphone are grafted onto the heart to pay homage to the wonder of new sounds, the pleasure of the state of suspension, in which each melody can coexist or live autonomously.
The music box is a spatio-temporal symbol of marginality, as children we open or load it in moments of stasis to be taken elsewhere, to live a moment absorbed and enraptured by the music and movement of a dancer in a casket. As adults we add nostalgia, but the music box remains a mechanism of small escape.
The collaboration between Eugenio Tibaldi and Taketo Gohara has created a visual and auditory experience that can only exist when triggered by a presence. The Marginal Carillon exhibition is part of BASE’s programming for Art Week, which includes the exhibition SIGNS 2, which opened during Milano Graphic Days, in the adjacent space Room 1400.
Image: Project for Marginal Carillon, detail (pencil and India ink on paper; 50 x 70 cm). Courtesy of Eugenio Tibaldi and Ramo Collection.
In Milan, a sound installation by Eugenio Tibaldi activates with the public, like a music box |
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