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DTSTART;TZID=Europe/Rome:20250925T203000
DTEND;TZID=Europe/Rome:20250925T230000
DTSTAMP:20250911T082714Z
CREATED:20250903T093901Z
LAST-MODIFIED:20250911T082714Z
UID:10507-1758832200-1758841200@www.mainfest.it
SUMMARY:MA/IN25 - KORA①
DESCRIPTION:© Circa Tono [The Entropic Arias]\n \n🎟 biglietti disponibili solo in loco\n▷ opening / installazione\nh 20.30\n⦿ Francesco Enea Gueli [IT] /// Rimuginio\nsound installation \n▷ concerto\nh 21.00\n⦿ Amma Ateria [HK/US] /// The Entropic Arias  \nlive A/V performance \n⦿ Simone Faraci [IT] /// Xiamma\nlive performance \n\n/// Rimuginio [sound art]  (Rumination) is a sound installation that stages obsessive and circular thought through a simple\, mechanical\, and relentless gesture: a marker drawing circles on a sheet of paper. Driven by a hidden motor\, the vibrations generated are amplified through a resonant surface\, creating a raw yet vibrant sonic landscape. The work is inspired by the psychological concept of rumination: the continuous recurrence of a thought that fails to reach resolution. In this drawing machine\, imprecise yet persistent\, one can see a reflection of the human mind\, trapped within its own internal circuits. The audience is invited to participate actively: the installation detects the distance of spectators\, altering the speed of the drawing and transforming the sonic environment. Human interaction\, interpreted as a potential helping hand\, provokes deviations in the marker’s behavior. On the contrary\, a distant observer allows the device to continue its obsessive and imprecise motion undisturbed.\nFrancesco Enea Gueli /// Born in Florence in 2003\, his musical journey began at the age of five when he started studying the violin\, obtaining his Suzuki diploma and then completing his pre-academic conservatory studies. He attended the degree course in “Applied Music” at the Fiesole School of Music where he studied with Alberto Gatti and Girolamo Deraco\, and collaborated with prof. Damiano Meacci. He has attended the final year of the course as an Erasmus student at the Royal Conservatory of Madrid\, where he studied with Julián Ávila Sausor and Alberto Bernal Corral. He has taken part in masterclasses with professors Cesare Saldicco (Milan) and Hara Alonso (Stockholm). He continues his violin career\, having recently played with the Italian Youth Orchestra and the European Youth Orchestra in Madrid. He has collaborated with the Gynaikos Quartet\, which played one of his pieces in the ChorAsis exhibition space (Prato)\, and was recently selected to participate in the biennial electronic music festival In-Sonora\, which takes place in Madrid.\n \n\n/// The Entropic Arias  [A/V performance]  With ‘The Entropic Arias’\, Amma Ateria sonically encapsulates her post-concussion neurogenesis as it enters stages of maximal entropy. Out of 270 sonic fragments\, series of movements emerges —each an abstraction navigating the acceleration of entropy toward a state of equilibrium. This work unfolds as an immersive audiovisual memento and documentation\, blurring the line between collapse and emergence\, mirroring dissonance : harmony\, limerence : surrender. It invites audiences into a space where breakdowns—sonic or cognitive—become thresholds for clarity and balance for meditation. \nAmma Ateria /// is an electroacoustic composer working in psychoacoustics\, binaural beats and equal-loudness contour. Her focus remains faithful to both extremes of polarity in systemic spectrums — soft : severe\, entropy : equilibrium\, utilizing brainwave entrainment\, time shifts\, and neurological responses to DELTA\, THETA\, ALPHA\, BETA\, and GAMMA waves as material. Born in Hong Kong\, working in San Francisco and New York City —with memories of condensed cities\, she gravitates to frequencies of close-ranged airplanes\, polyrhythmic occurrences\, out-of-body experiences\, and sustained harmonics intersected with musique concrète. Ateria studied at Mills College in music composition\, specialization in electronic music\, audio engineering\, and media technology; presented works at Pioneer Works\, Titanik Gallery\, BAMPFA\, Exploratorium\, Marfa Sounding\, CCRMA Stanford University\, Cinematheque\, YBCA\, Minnesota Street Project\, Other Minds\, Recombinant Lab’\, Cone Shape Top\, Fort Mason Arts & Culture\, Gray Area\, The Lab\, SFEMF\, GAIDA Festival\, Elektronmusikstudion\, Blaues Rauschen\, The Music Gallery\, FIMAV\, Digital in Berlin\, Meakusma\, TwentyAlpha\, Silence Touch\, 2220 Arts + Archives\, Public Records. \n\n/// Xiamma [performance] is a solo electroacoustic performance emerging from research on musical form\, memory\, and the perception of time. The work deconstructs and reassembles diverse musical languages – including jazz\, hip-hop\, ambient\, rock\, and electroacoustic music – to create a continuously evolving soundscape. At its core\, Xiamma investigates the composition\, decomposition\, and recomposition of musical form\, exploring sound as a tactile material and the relationship between listening and touch. The structure is open\, with a variable duration between 15 and 50 minutes\, and is built from a sequence of independent sections – self-contained sonic ecosystems – that can be recombined in different ways for each presentation. This modular approach adapts the performance to the specific context and ensures that no two presentations are ever the same. Improvisation and live processing of sonic materials play a central role in shaping the work in real time.\nSimone Faraci /// is a composer and improviser based in Bologna\, whose artistic research focuses on improvisation and experimental electronic music. He mainly composes music for sound installations\, dance and theater\, and his live activity spans both underground and institutional contexts\, with works presented in Italy and abroad. As an improviser\, he has performed with Francesco Giomi\, Alvin Curran\, and Giancarlo Schiaffini. In 2017 he founded Minus Collettivo\, a group dedicated to electroacoustic improvisation\, with which he has performed at several internationally renowned festivals. Since 2019 he has collaborated with TREE (Tempo Reale Electroacoustic Ensemble)\, with which he has performed numerous concerts and released albums with the French label Elli Records. His discography includes solo releases (Echo ex Machina\, 2021; Mføku\, 2023) as well as several albums with Minus Collettivo and TREE. He teaches Electroacoustic Music Composition at the Bologna Conservatory and is coordinator of educational activities at Tempo Reale.
URL:https://www.mainfest.it/calendar/main25_kora1/
LOCATION:KORA – Contemporary Arts Center\, Via Vittorio Emanuele\, 19\, CASTRIGNANO DE' GRECI (LE)\, 73020\, Italia
CATEGORIES:Audiovisual,Live Performance,Sound Art
ATTACH;FMTTYPE=image/jpeg:https://www.mainfest.it/wp-content/uploads/2025/09/Amma_Ateria_Entropic-Arias_Promo_MAIN_1st.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20250926T203000
DTEND;TZID=Europe/Rome:20250926T230000
DTSTAMP:20250903T093905Z
CREATED:20250903T093905Z
LAST-MODIFIED:20250903T093905Z
UID:10516-1758918600-1758927600@www.mainfest.it
SUMMARY:MA/IN25 - KORA②
DESCRIPTION:© Touchy Toy Collective [Concrete Casings]\n \n🎟 biglietti disponibili solo in loco\n▷ opening / installazione\nh 20.30\n⦿ Francesco Enea Gueli [IT] /// Rimuginio\nsound installation \n▷ concerto\nh 21.00\n⦿ Liann J. Kang [KR] /// L’amour pur\nper voce + elettronica\nsoprano: Eleonora Claps\n \n⦿ Haou Nebout [IT] /// Laminar Flow\nlive performance\nelectronics: Biagio Cavallo – Andrea Fabris – Riccardo Tesorini \n⦿ Touchy Toy [IT] /// Concrete Casings\nA/V performance\n \n\n /// L’amour pur [mixed media] A pure\, bold\, dazzling connection of souls At a heartbreakingly beautiful point in time and space. How truthful and courageous can you truly be? – L’amour pur is a collaboration with composer and sound designer Victor Zheng for engineering and live electronics for the live performance.\nLiann J. Kang /// Born in Seoul\, South Korea\, Liann J. Kang is a composer residing in the US. In her work\, she seeks to direct the audience’s perception of sound and space altered by crafted sonic illusions. Inspired by her own synesthesia\, her compositions stimulate not only hearing\, but all the senses collectively to each awaken uniquely in response to the temporal art of music. Kang is a 2025 Tanglewood Music Center Composition Fellow and has received 2025 ICMC Best Student Music Award\, First Prize of the 2024 Sweetwater/SEAMUS Commission Award\, and 2024 Kate Neal Kinley Memorial Fellowship. Her works have featured internationally at events and conferences including SEAMUS\, EMM\, NYCEMF\, ICMC\, Napoleon Electronic Media Festival\, CHIMEFest at University of Chicago\, Sound Spaces in Malmö\, Sweden. Her primary teachers have included Philippe Hurel\, Yan Maresz\, João Pedro Oliveira\, Eli Fieldsteel\, and has previously had masterclasses led by Kaija Saariaho and John Harbison. Currently\, Kang is a doctoral candidate in composition-theory at the University of Illinois at Urbana-Champaign\, where she also earned her Master of Music.\nElonora Claps [soprano] /// Born in Lucania\, she studied at the “G. Martucci” Conservatory of Salerno under E. Scatarzi and specialized with A. Caiello\, J. Fraser\, Sarah Maria Sun\, and D. M.-Dansac\, attending institutions such as the Royaumont Foundation\, John-Cage-Orgel Foundation\, Darmstädter Ferienkurse\, and Verona Opera Academy. Her repertoire embraces a wide range of vocal styles with a strong focus on 20th-century and contemporary music\, both acoustic and electroacoustic. She collaborates with composers\, ensembles\, and research centers such as the CRM in Rome and the Conservatory of Salerno\, and she performs regularly in international festivals and venues\, including the Venice Biennale\, Auditorium Parco della Musica (Rome)\, San Fedele (Milan)\, and the Abrons Art Center (New York). A finalist of the “Premio Bucchi Interpretazione 2015\,” she has premiered numerous works\, with commissions dedicated to her at SpazioMusica and the MA/IN Festival. Her repertoire includes works by Berio\, Cage\, Ligeti\, and Kurtág\, and she has recorded for Stradivarius\, Edizioni Scientifiche\, and Cesmel. \n\n/// Laminar Flow [performance] In fluid dynamics\, laminar flow describes the motion of infinitesimal layers sliding in parallel\, without turbulence or mixing\, each preserving its own molecular composition. Even at a microscopic level\, every section remains distinct\, yet the overall result is a single coherent flow\, shaped by the sum of its trajectories. This principle inspires Laminar Flow\, an electroacoustic improvisation in which three sound currents — Andrea Fabris’ drums and live electronics\, Riccardo Tesorini’s modular synthesizers\, and Biagio Cavallo’s digital processing — evolve as independent yet complementary layers\, intertwining into a shared continuum. Subtle timbral and dynamic variations shape a landscape in constant expansion and contraction\, evoking the tension and cohesion of a collective ritual. In this way\, the trio Haou Nebout envisions a sonic world where distinct musical currents intertwine\, echoing the measured flow of individual elements — a living space where sound is inhabited\, constructed\, and transformed\, and where performers and listeners become part of the same\, ever-evolving ritual.\nHaou Nebout /// is an electroacoustic trio based in Bologna (IT)\, featuring Biagio Cavallo (laptop)\, Andrea Fabris (drums\, live electronics)\, and Riccardo Tesorini (synthesizers\, samplers). The group explores the intersections of non-idiomatic improvisation and new territories of sound research\, developing a sonic landscape where the archaic meets the post-human\, and apocalyptic imagery evokes a return to the origins. Recently\, they have collaborated with the label Small Forms (Wien) on their first album\, released in December 2024. Since 2023\, they have been touring Europe presenting frontal electroacoustic improvisation\, multi- channel performances\, and sound installation\n \n\n/// Concrete Casings [A/V performance] The outskirts of Rome are dotted with intentions and ideas that were never brought to fruition. Illegal construction\, rigged contracts\, and neglect have resulted in the proliferation of abandoned construction sites\, destined to remain an indelible testimony to such errors. These dilapidated exoskeletons are memories like fossils from past epochs. The unfinished structures\, left incomplete\, tell stories of unfulfilled promises and shattered dreams. Instead of being vibrant and prosperous\, the peripheral neighborhoods host these carcasses of concrete and steel that degrade the urban environment and scar the landscape. Each abandoned building carries with it a narrative of corruption and inefficiency\, a story of betrayed hopes and wasted resources. The rusted scaffolding and incomplete walls are silent monuments to mismanagement\, a perpetual warning of the consequences of greed and negligence. These urban skeletons\, though immobile and silent\, scream a reality too often ignored. They are the tangible proof of a system in dire need of profound reforms and a new vision\, one that can transform intentions into accomplished actions and restore dignity and beauty to Rome’s outskirts.\nTouchy Toy ///  was founded in 2021 by Gabriele Petrillo\, Andrea Lupo\, and Matteo Camerini\, classmates in Electronic Music Composition at Saint Louis College of Music in Rome. In 2023\, Christian D’Amico and David Quintarelli joined the collective. Their work explores the interplay between technology and aesthetics through sound installations\, audiovisual performances\, and musical compositions. Inspired by a utopian vision of the digital age\, their style blends pop culture references with semantic short-circuits. Touchy Toy has presented works at festivals and venues such as Ladispolaneamente\, CIM (Colloquio di Informatica Musicale)\, Palazzo Brancaccio (LCF)\, Nuovo Cinema Aquila (LPM)\, and Brancaleone\, often experimenting with live coding. Their A/V performance Concrete Casings premiered at the Visual Sound Festival (Nuovo Cinema Aquila) and was later showcased at PatchLab Festival (Kraków)\, D-CAF (Cairo)\, Chromosphere at Fotonica 2024 (dome version) and Videocittà 2025.
URL:https://www.mainfest.it/calendar/main25_kora2/
LOCATION:KORA – Contemporary Arts Center\, Via Vittorio Emanuele\, 19\, CASTRIGNANO DE' GRECI (LE)\, 73020\, Italia
CATEGORIES:Audiovisual,Live Performance,Mixed Media,Sound Art
ATTACH;FMTTYPE=image/jpeg:https://www.mainfest.it/wp-content/uploads/2025/09/case.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20260917T203000
DTEND;TZID=Europe/Rome:20260917T230000
DTSTAMP:20260809T102358Z
CREATED:20260725T162755Z
LAST-MODIFIED:20260809T102358Z
UID:10813-1789677000-1789686000@www.mainfest.it
SUMMARY:MA/IN[X] - KORA①
DESCRIPTION:© re_derma\n \n🎟 biglietti disponibili solo in loco\n\n▷ opening / installazione\nh 20.30\n⦿ re_derma [IT] /// Somatic Resonance\nsound installation \n⦿ #acousmatic miXtape\n\nsound installation/listening room\n\n\nHoyong Lee [KR] /// Dashboard: Bit-Crushed\nIsaac Barzso [US] /// Bled in plasticrust\nPanayiotis Kokoras [GR/US] /// AI Phantasy\nWei Yang [CN] /// rain contained\, rain contains…\nIan Whillock [US/DE] /// Residual\nLoup Mormont [BE] /// Nuit Corail\nTheodoros Karkatselas [GR] /// Quarks\nBoyi Bai [CN] /// Take Me Back to Indonesia\nJonty Harrison [GB] /// Kammermusik\nAbril Padilla [AR] /// GRIMJA\n\n\n\n▷ concerto\nh 21.00\n⦿ Francesco Massaro [IT]  /// Tactile\nsax + electronics + audiovisual \n⦿ Hoshiko Yamane + Makoto Sakamoto [JP] /// A Fragment of the Story\nviolin + electronics \n\n/// A Fragment of the Story  [mixed media] A Fragment of the Story unfolds as an evolving sonic environment constructed entirely in real time. Rather than presenting a fixed composition\, Hoshiko Yamane and Makoto Sakamoto develop musical form through continuous listening\, interaction\, and response. The electric violin functions as part of a live electronic system in which signal processing\, feedback\, resonance\, and spatial projection continuously influence one another. Layers of sound gradually reveal shifting harmonic relationships while moments of density and silence reshape the perception of time and space. Rather than telling a complete narrative\, the performance offers fragments from which listeners may discover their own journeys. Memories\, personal associations\, and imagined stories emerge differently for each individual\, making every experience unique. Each realization responds to the acoustic characteristics of the venue and the conditions of the moment\, creating a sonic architecture that exists only through the interaction between performers\, space\, and audience.\nYamane + Sakamoto/// A duo featuring Hoshiko Yamane\, violinist of Tangerine Dream and classically trained composer\, and Makoto Sakamoto\, who shapes live electronic spaces through sound construction and real-time processing. Within Sakamoto’s layered waves of abstract\, quasi-mechanical tones and dense noise textures\, harmonic structures begin to emerge. Yamane’s razor-sharp precision and distinctly classical expressiveness move through this shifting field—at times merging with it\, at times cutting through it with striking clarity. Their performances are marked by intensity\, control\, and a strong sense of structure.\n \n\n/// Tactile  [A/V performance] cineconcerto by Leonardo Carrano Through a stereoscopic vision\, the film investigates the evolutions of the matter that organically inhabits the 35mm film\, staging a tactile and sensitive perception that\, abandoning the ocular scopic regime\, plunges into an incorporeal experience where unconscious humanity and interstellar universes seem to touch. The music\, composed and performed live by Francesco Massaro\, seeks a non-literal relationship with the image\, while remaining faithful to the director’s creative processes; thus creating a double within a double\, in which the sound also follows the subversion of the natural order of the senses\, seeking itself to be touched.\nFrancesco Massaro/// Sax player\, composer and sound artist whose practice unfolds at the intersection of improvisation\, composition\, and sonic research. Working with saxophones\, clarinets and live electronics\, he investigates sound as a material\, embodied\, and perceptual phenomenon\, developing performance environments in which acoustic and electronic processes continuously reshape one another. His work treats the instrument as an unstable and evolving system\, where feedback\, resonance\, friction\, and micro-variation become compositional forces. Situated within a fluid territory spanning experimental music\, avant-jazz\, contemporary composition\, electronic practices\, and ethnic traditions\, his artistic research explores emergent forms\, relational listening\, and the poetics of transformation. His projects frequently extend beyond music\, engaging dialogue with space\, image\, language\, and the body. A student of Gianni Lenoci\, Massaro has received recognition from institutions and critics. He has presented his work throughout Italy and Europe at festivals and venues dedicated to contemporary sound practices\, including AngelicA\, Tempo Reale and Area Sismica.\n \n\n/// Somatic Resonance [multimedia installation] Somatic Resonance investigates the transmutation of biological data into mechanical energy\, exploring the threshold where the organic body merges with digital and sonic infrastructure. Visitors’ heartbeats\, detected by biometric sensors\, are extracted and re-injected into a synthetic structure. Membranes are set into vibration by electroacoustic transducers\, manifesting digital flesh through sub-low frequencies that act directly on matter. A system of translucent communicating vessels acts as an informational circulatory apparatus\, connecting the human body to the machine in a visceral flow of data. The work shifts the focus from the visual representation of flesh to its vibratory persistence\, transforming the exhibition space into a sensitive organism. When multiple users interact simultaneously\, the installation evolves into a collective ecosystem generating interference. In this tension between synchrony and chaos\, Somatic Resonance seeks to redefine sound and technology as a disturbing extension of the human nervous system.\nre_derma /// is a multimedia artistic duo born as a collective in 2024\, active in installation\, performative digital practices\, and audiovisual live-sets. Their research investigates the body in its most intimate and carnal relationship with technology and structures of power\, focusing on the contemporary digital ecosystem: Artificial Intelligence\, biohacking\, and the digitalization of desire and the body. The project takes shape in interactive installations\, experiential spaces\, A/V performances\, and multi-screen scenographies. Within these environments\, technology becomes an extension of the body\, and the subjectivities that move through the works are invited into an active engagement that destructures the logics of control and questions the boundaries between real and virtual\, turning the body into a transducer of impulses. The collective has presented its work in contexts such as LIMINAL SPACE\, Studio Tiepolo 38\, the Academy of Fine Arts of Rome\, Manifatture Knos (Lecce)\, and Parsec (Bologna)\, as well as in Roman venues such as Esc Atelier\, Casa delle Donne di Roma\, Trenta Formiche\, La Redazione di Scomodo\, Forte Prenestino\, Alibi Club\, and Angelo Mai. \n\n\n     \n\n         \n\n© Yamane + Sakamoto\n     \n\n         \n\n© Francesco Massaro
URL:https://www.mainfest.it/calendar/main26kora%e2%91%a0/
LOCATION:KORA – Contemporary Arts Center\, Via Vittorio Emanuele\, 19\, CASTRIGNANO DE' GRECI (LE)\, 73020\, Italia
CATEGORIES:Acusmatica,Audiovisual,Live Performance,Mixed Media,Sound Art
ATTACH;FMTTYPE=image/jpeg:https://www.mainfest.it/wp-content/uploads/2026/07/re__derma.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20260918T203000
DTEND;TZID=Europe/Rome:20260918T230000
DTSTAMP:20260808T144309Z
CREATED:20260725T174354Z
LAST-MODIFIED:20260808T144309Z
UID:10816-1789763400-1789772400@www.mainfest.it
SUMMARY:MA/IN[X] - KORA②
DESCRIPTION:© lorenzo ballerini\n \n🎟 biglietti disponibili solo in loco\n▷ opening / installazione\nh 20.30\n⦿ re_derma [IT] /// Somatic Resonance\nsound installation \n⦿ #acousmatic miXtape\n\nsound installation/listening room\n\n\nHoyong Lee [KR] /// Dashboard: Bit-Crushed\nIsaac Barzso [US] /// Bled in plasticrust\nPanayiotis Kokoras [GR/US] /// AI Phantasy\nWei Yang [CN] /// rain contained\, rain contains…\nIan Whillock [US/DE] /// Residual\nLoup Mormont [BE] /// Nuit Corail\nTheodoros Karkatselas [GR] /// Quarks\nBoyi Bai [CN] /// Take Me Back to Indonesia\nJonty Harrison [GB] /// Kammermusik\nAbril Padilla [AR] /// GRIMJA\n\n\n\n▷ concerto\nh 21.00\n⦿ Simone Grande [IT] /// Mani Rotte  /// Mani Rotte\nelectric guitar + electronics  \n⦿ Lorenzo Ballerini [IT] /// Void\nsmartphone network performance \n⦿ H7-25 [IT] (Damiano Meacci + Gianluca Catuogno) ///OVERT[o]URISM\nlive electronics \n\n///OVERT[o]URISM [live electronics performance] a single small letter\, squeezed between capitals\, is all it takes to tip an overture into overtourism. The small crushed by the outsized: an island\, a city\, a mind under the many forms of “over” we inhabit — overtourism\, which the duo experiences at first hand between Florence and Capri; the flood of information that promises awareness and delivers distraction; the strain every excess places on the ecosystems — natural\, urban\, mental — that sustain us. On stage\, sound behaves like an ecosystem. Fragile equilibria are enriched by new presences: it is not presence that breaks them\, but excess — proliferations that thicken into chaos and consume the balance that had made room for them. Much of the duo’s sound is born from almost nothing: background noise channelled into feedback circuits (no-input) until it proliferates into matter — noise itself turned into excess; around it\, pre-recorded fragments — voices of protest — reworked live\, and the ticking of a timer\, time running out as it all unfolds. Dense saturation alternates with deep stillness\, in a free improvisation grounded in mutual listening: what happens when what we take for enrichment begins to devour us?\nH7-25 /// is the electroacoustic duo of Gianluca Catuogno (Capri) and Damiano Meacci (Florence). Born from a shared urge to improvise\, the duo builds its music from essential means: everyday objects\, small folk instruments and self-built electronics\, explored through close listening and transformed live into events\, textures and form. Each performance reshapes itself around the space that hosts it. H7-25 has performed at Tempo Reale Festival (Florence)\, Resonant Edge Festival (UK) and Audio Art Festival (Kraków)\, and in residency at Château Éphémère (Paris). Gianluca Catuogno is an electronic musician\, composer and music therapist. He has created a sound installation for sculptor Arnaldo Pomodoro\, written music for theatre (with Roberto Saviano and Mimmo Borrelli) and film\, and explores live electronics in music therapy. He teaches at the Tito Schipa Conservatory in Lecce. Damiano Meacci is a musician and sound researcher\, member of Tempo Reale since 1996\, performing live electronics for Luciano Berio and many others\, from Teatro alla Scala to IRCAM. His music for Nina\, with soprano Claron McFadden\, is touring internationally. He teaches at the Cherubini Conservatory in Florence. \n\n/// Void  [smartphone network performance] Void arises from an exploration of the contemporary paradox: connection as a form of isolation. In a hyperconnected system\, constant access to personalized visual\, sonic\, and informational content generates increasingly separate individual experiences. The illusion of a shared space fragments into perceptual micro-universes\, calibrated for a single subject.\nThe performance questions the concept of spatialization\, no longer as an extension\, but as a contraction of space. A shared loudspeaker system constructs a common acoustic environment\, while the audience’s smartphones introduce another perceptual layer: private perceptual spaces\, accessible only to those who temporarily hold them. Controlled in real time by the performer\, these parallel experiences create a shifting relationship between collective listening and individual perception. Void invites the audience to reflect on the threshold between the personal and the collective\, asking whether there is something that no one can perceive alone.\nLorenzo Ballerini ///  is an Italian sound and new media artist and researcher based in Florence. He is Professor of Electroacoustic Music and Multimedia Arts at the Conservatory of Trapani. His practice explores sound\, space\, and digital media through performances and installations focused on social interaction and collective behaviour. His work has been presented at ADE Festival\, Artech\, Berlin Biennale\, Bright Festival\, CHB Berlin\, Diffrazioni Festival\, Fabbrica Europa\, Gaida Festival\, ICSC\, IRCAM-WAC\, MA/IN Festival\, MEFF\, SMC\, and Tempo Reale Festival. He has collaborated with artists including Alvise Vidolin\, Christine Meisner\, Michele Marasco\, Nicola Sani\, Paolo Parisi\, Roberto Fabbriciani\, and Tiziano Manca.\n \n\n/// Mani Rotte  [mixed media]  is a moment devoted to improvisation for electric guitar and live electronics\, and it uses no score. A melody\, or a small cell\, is developed\, redefined and transformed into a continuous dialogue between instrument\, gesture and compositional thought: improvisation\, body\, space and memory are at the heart of its research. In a hyper-productive and hyper-descriptive age\, the project chooses to withdraw toward the foundational materials of a path — texts\, melodies and harmonies — in order to reread them through contemporary tools. It recycles and reinterprets the past without indulging in formalism\, seeking an essential\, unhurried listening\, one able to counter the perceptual frenzy of the present. Mani Rotte does not claim to invent something new: it questions the very idea of originality\, generating new awareness around material that already exists. Close to improvisation on a theme and variations\, its aim is to reactivate listening and to offer fresh perspectives\, without sweetening or new terminology. It is the real-time sound-processing tools that define\, time after time\, the form and structure of the performance.\nSimone Grande /// is an Italian guitarist and sound designer. He moved to Bologna to study classical guitar with Walter Zanetti; after graduating he continued in electronic music and sound design\, focusing on improvisation through a Master’s in Electroacoustic Improvisation. His independent projects and releases include “Mani Rotte\,” a solo performance for guitar and electronics\, and “CavalloGrande\,” a cassette with Biagio Cavallo. He has collaborated with musicians and institutions such as Julien Desprez for Ohm Orchestra (Angelica Festival\, Bologna)\, Joseph Kamaru for the “Stayer” tour (La Torre Centro Musica\, Modena)\, Christian Wolff for the “Sveglia” project (Angelica\, Italy)\, Tempo Reale (Italy) for commissions and live sets\, and Virgilio Sieni’s Cango Cantieri Danza (Italy). He has released with Elli Records (France) with the B.I.G. (Bologna Improvisation Group) and NeverAnythingRecord (USA).\nHe has handled sound design for dance productions with CGJ (Italy)\, including “Pas De Deux\,” “Fuego\,” “Evento\,” and “Elysium” (Cango Cantieri Goldonetta\, Virgilio Sieni). He has been hosted internationally at the Cité des Arts in Paris and Instants Chavirés. \n\n/// miXtape [LISTENING ROOM] 10 works selected from the acousmatic category become part of the annual acousmatic mixtape featured on the MA/IN festival website. Marking the festival’s 10th anniversary\, this year’s edition extends into a physical space: a sound installation inside KORA transforms into a listening room\, allowing visitors to freely explore and experience the 10th [X] miXtape.\n \n\n\n     \n\n         \n\n© H7-25\n     \n\n         \n\n© Simone Grande
URL:https://www.mainfest.it/calendar/mainxkora%e2%91%a1/
LOCATION:KORA – Contemporary Arts Center\, Via Vittorio Emanuele\, 19\, CASTRIGNANO DE' GRECI (LE)\, 73020\, Italia
CATEGORIES:Acusmatica,Live Performance,Mixed Media,Sound Art
ATTACH;FMTTYPE=image/jpeg:https://www.mainfest.it/wp-content/uploads/2026/07/Void-video-ph-3.jpg
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