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14
Hello Ottavia Trio, and welcome to NotRandomArt. The current issue is revolving around the problem of communication and identity. Is there any particular way you would describe your identity as artists but also as human beings in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?
Hello and thanks for having us in NotRandomArt. Our approach to creativity in music is lead by instant composition that is a sort of reaction to the current times where everything needs to be filed into defined categories. Furthermore, the crossing over different musical genres for us is a natural consequence of the world wide cultural melting pot.
Would you like to tell us something about your artistic as well as life background? What inspired you to be in this artistic point in your life when you are now?
The trio is composed by three musicians with different background but with a common interest in experimentation. Alessandra graduated with honors in modern singing, she studied improvisation with Maria Pia De Vito, Walter Beltrami and Laura Fedele. She collaborated with several famous italian musicians including Anna Oxa and Francesco Baccini. With Euphonia Ensemble, a cappella sextet, proposes original world-fusion compositions. Vocal performer in contemporary art projects with artists such as Francesca Grilli, with whom participated in the 55th Venice Biennale in 2013 with "Ferric Oxide". Currently she sings with DeLiCanti, an ensemble proposing baroque to contemporary music. Giorgio is a sound craftsman and experimenter of string vibrations. He played within different pop, ethno and song-writing groups. He performs improvisation and instant composition in various ensembles, both as guitar player (The Chemical2uo) and as vocalist (Le Vie dei Canti). Simone is a versatile musician, composer and musical therapist. With a guitarist background he studied and researched on percussion instruments. He has composed and arranged music for youth multiethnic orchestras (Golfo Mistico), instructional videos, documentaries and theater soundtracks. He currently works in various musical projects, ranging from madrigals (Delicanti ensemble) to the 20's and 50's songs (la Petite Orchestre), from song-writing to improvisation.
The three of us joined together in 2013. Then we find ourselves into instant composition within unusual locations, into sounds for theatrical pieces, in interaction with dancers, in atypical background within audacious restaurants, in instant composition of songs originated from poems, thoughts, lyrics, messages and sms shared on the spot by the audience.
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the artistic culture?
The musical influences are quite a lot! We definitely had a corresponding vision in one of Italo Calvino's Invisible Cities: "Now I will tell how Ottavia, the spider-web city, is made. There is a precipice between two steep mountains: the city is over the void, bound to the two crests with ropes and chains and catwalks . (...) Suspended over the abyss, the life of Ottavia’s inhabitants is less uncertain than in other cities. They know the net will last only so long "
Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
Memory is the starting point for our instant compositions. On the other hand, memory is something to escape from when we are in the search of new territories.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
We propose travels in musical territories covering varieties of genres and atmospheres, depending on the moment and the place where they occur: folk-pop, ballads, psychedelic blues, ambient, space funky, ethno, punk rock. The improvisation process presents a wide range of techniques and methods. One of the ways that we follow the most is surprising ourselves in developing unusual solutions while walking within known paths. To develop the above we practice and warm up with particular exercises that help in getting together during creation. As examples: we initiate simultaneously the performance and we try to converge to a common place creating a song; one of us initiates a texture and the other two insert within; we set up and maintain a constant dynamic environment (low or high volume; slow or fast rhythm) or we develop a mixed dynamic evolution.
Before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?
We propose travels in musical territories covering varieties of genres and atmospheres, depending on the moment and the place where they occur: folk-pop, ballads, psychedelic blues, ambient, space funky, ethno, punk rock. The improvisation process presents a wide range of techniques and methods. One of the ways that we follow the most is surprising ourselves in developing unusual solutions while walking within known paths. To develop the above we practice and warm up with particular exercises that help in getting together during creation. As examples: we initiate simultaneously the performance and we try to converge to a common place creating a song; one of us initiates a texture and the other two insert within; we set up and maintain a constant dynamic environment (low or high volume; slow or fast rhythm) or we develop a mixed dynamic evolution.
at automatically identifies, through education, culture, family... More than ever I think it's more important to go on a way of self-knowledge with the aim to meet “the other”.. This other without which we can not exist. It's the same for the artist. It is more important for me to be focused on my practice than to try to define it according to esthetic criteria of identification. It's probably the reason i like to remember the painter Matisse who said or wrote that an artist must never be prisoner of himself, prisoner of a style, prisoner of a reputation.
Would you like to tell us something about your background? Could you talk a little about experiences that has influence the way you currently relate yourself to your artworks?
All my way is influenced by encounterings.
It began by the meeting with my professor of literature at school. More than giving French or Literature classes, she brought us to discover texts, movies, plays, visual artworks and to think about on what we saw or read.. Thanks to her that I met Pierre Vincke, a theatredirector who was worjink in the tradition of Grotowski ... Both of them have led me to go to theater school. In this school I had meetings. Meetings with artists but also and especially human beings that made me discover. I always need o discover rather than to master a practice. It's probably the reason my encounter with Monica Klingler and Boris Nieslony was decisive for me and led me on the path of Performance Art which is a form still difficult to define. Each performance artist has a different definition of what it is...
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about race and ethnic identity in visual culture?
No I don't have a specific artwork that has influenced my artistic practise but many.
I'm influenced by some philsophers as well as poets or musicians or dancers or visual artists but also by some places or landscapes or atmospheres ... For some years, I was used for example to go to India where I was used to follow some traditionnal muscians or to learn bharatanatyam and practice vipassana meditation... Of course this experience has impacted my art work.... This brought me to think and work differently... My experience in India brought me to discover traditionnal strong art and paradoxally to the way of Performance Art. But there I see one common point: to make no separation between art and life and to be here and now, without projection on the future.
It's difficult for me to speak about race and ethnic identity. But I can say that today we miss more and more this notion of “to be here and now” which is more present in some cultures ... By practising Performance Art, it's my way to be connected to this way of thinking. And even in this field actually it's more and more difficult. The society and the art world brings us more and more to plan in advance, to define our work, more than to do. Just to do. To do what we deeply need.
And of course, my encountering with Black Market International and later the notion of Open Source or Open session via PAErsche have also a big impact on my work. When we go on that, each of us perform by sharing time and space but without trying to convince each other on some common way. This is for me a wonderfull way how we can meet each other, regardless of our origin, our race or our “identity”...
Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
My memory is clearly a starting point to create. I don't have any autobiographical message. I use my personnal experience ( what I feel , what I see, what I learn, what I ear...) to work. It's a motor or a material. I'm not able to paint, so I can't do something with red or white or yellow or black colors. All I have is life, a body alive. And I need to do something with that...
My sensation about life sometimes is too intense then I need to transform this intensity in some action. Some artistic action... If people can take something from this action this is great... but I don't want to give them “a specific message” or to control the translation of my experience.