DEADLINE
Deadline is a multimedia performance, which creates a simulation of "burn-out" on stage. Our research is inspired by the idea of the "docile body", a term taken from Michel Foucault's book "Discipline and Punishment", and is conducted by interviews with various people who have experienced burn-out. In staging the performance we transformed our research with W. Forsythe's improvisation technique and the idea of essentialism taken from W. Kandinsky's "Point and line to plane".
The multimedia performance “Deadline” is intended for smaller spaces where the audience is close to the stage, completely immersed in the performance. The entire audience sits in a semicircle around the solo performer. The distance between the artist and the audience is important as the video content is presented on the 24-inch monitor screen, the intensity of the physical performance is emphasized by the proximity and the sense of different smells plays an important role. The diffusion sound system (quadraphonic or more complex) is located around the audience and the music is composed to operate on the "distributed brain" of the body, designing "unhoming" in which the senses exchange so that your skin hears and that your ears perceive. To give the audience a complete sensory experience, the lights are programmed and synchronized with the performer's sound and movements. The duration of the complete run can vary by approximately one hour.
Concept, Performer, Sound Design
ANDRO MANZONI (CRO)
Scenography, Costumes, Video Design
BLANDINE GRANIER (FRA)
Director, Light Design, Dramaturgy
PAOLO PANIZZA (ITA)
DEADLINE - Multimedia Performance
Originally, a deadline was a line drawn around a prison beyond which prisoners were liable to be shot. Now as Foucault writes “discipline becomes internalized” and power is exerted over the body “without taking as much action”, and this over generations; from the grandfather to the father to the son. The remaining question for the son is how to escape it. This performance is an attempt to create a liminal space before the one of the burn-out, a transition for deep change. As Slavoj Žizek says, in order to change fate “every one of us has to change so much that we will hardly be recognizable as the same person in the end.”
RATS - Talent Show for an apocalypse with an aspectacular ending
ἀποκάλυψις [-εως, ἡ], feminine noun. Unveiling, take off a veil, manifestation, revelation.
Starting point: the experiment Universe25 as a fairytale to be told as story in a circle, as a moment of community.
A fairytale and a bit of a tale too, said by an incorporated voice outside field, which unveils, admonishes, from hope and condemnation. Judge, like a God, guide and illustrates the rules of a game to four participants of a talent show, without ever manifesting itself.
A presenter documents and acts as a through as a messenger between God, them and the public. Where is it? in a theater that becomes Escape room from its own constructs. Visible walls, lights and trusses et al center a circle of white powder, bone dust, which flakes off, reduces the space of who can continue to to play. Staying out of it is equivalent to losing one's place in this game and the show must go on. A webcam looms over them which documents the signs of the action on the dust, sometimes cryptic, other real drawings that carry on the narration on multiple levels. The audience, a bit voyeur, observes multiple perspectives: both the frontal scene and a live bird's eye video from a camera, projected in the background; as in a Greek choir, the audience becomes participant and inquisitor at the same time.
In this ring the voice guides them in a series of tests, concrete tasks, which leads us to discover, to reveal a moral and physical desert that advances. In a party atmosphere, the participants left at the mercy of orders and unable to control external phenomena precipitate, disintegrate, reconcile, love and finally they die, at the fast pace of that yes, yes, yes, flag of a fake free will. An infernal talent show in which the competitors have one goal: to adapt and survive an increasingly fast- paced society. A game of chairs that advances in rhythm sustained. Where places are few and fewer and fewer. A Russian roulette to which everyone they must and want to participate. A game that changes and reveals itself to make us manifest.
In the center? the dreams and fears of the actors. Here human beings, stripped of their being actors, who try in every way to escape from this Escape room that is the theater or that is a den insecure.
Who will win? What will the new species emerge?
Finalists of "Biennale College Teatro 2022 – bando Registe/Registi Under 35” in Venice, Italy.
CONCEPT, PROJECT E DIRECTION:
Paolo Panizza
DRAMATURG:
Agnes Oberauer
Assistant directing:
EdoArdo Ferrari
Sound Artists:
Andro Manzoni and Stefano Mattozzi
Set and costume design:
Blandine Granier
PERFORMERS:
Filippo Pizzocri, Marica Mastromarino, Benedetto Patruno, Lea Sekulic and Ragnar Uustalt
RATS - Talent Show for an apocalypse with an aspectacular ending
"And I saw, and behold, a pale horse, and he who sat on it had the name Death; and she kept Hades behind him. And it was their given power over the fourth part of the earth to kill with the sword, with hunger, with pestilence and with the fairs of the earth. " - Revelations vi.7
BEE MATTER
A Queen comes into being.
A Queen goes out into the sun.
I fly as far as possible towards the Sun to which I belong…
The indivisibility of reality suggests us ever-widening circuits of existence. Existence located in the agenytial manifestation of life, more significant than a human landscape of flows, systems and networks. The mixed medium performance addresses the challenge to manifest this complex reality through the in-depth metaphor of bees. The metaphor is regulated through three main agential types: a Queen, a drone and a worker.
Becoming the Queen is a matter of luck. The female Queen is selected early in larval development and fed a diet of royal jelly. The Queen leaves the hive once in her life for the virgin flight. She is the reproduction centre and the mother of the matriarchal hive. Without a queen, life in the hive grows chaotic.
A male drone has only one purpose in life: to mate with the Queen and pass on genetic material. Every sunny afternoon he will fly from his hive looking for action. In ways that remain mysterious, he will find his way to honey bee mating areas and will fly about this aerial pickup spot, waiting for a young queen to appear.
The two are made for each other. Dawn-to-dusk “escort” service of the flowers’ little friends, the worker bees feed upon just those parts of the plants which are wholly pervaded by love. The individual bees renounce love in manifold ways and thus develop love throughout the whole hive. Female worker bees are the labourers for colony growth and maintenance.
Director: IVETA POLE (LAT)
Video: KATRĪNA NEIBURGA (LAT)
Composer: ANNA ĶIRSE (LAT)
Sound Designer: ANDRO MANZONI (CRO)
Lighting Designer: PRIIDU ADLAS (EST)
Voice: JANIS KOKINS (Latvian Radio Choir), drums: KASPARS KURDEKO, double bass: REINIS OZOLINS
Performers: KEITHY KUUSPU (EST), LEA SEKULIC (CRO), SEOHWON JI (KOR), JOHHAN ROSENBERG (EST), LIISA SAAREMÄEL (EST), JETTE LOONA HERMANIS (EST)
VJ/ 3D filter: EMER VÄRK
Beekeeper: ERKI NAUMANIS
Photos: ALAN PROOSA
BEE MATTER - Multimedia Performance
A Queen comes into being.
A Queen goes out into the sun.
I fly as far as possible towards the Sun to which I belong…
LIBERTY
LIBERTY is a performance about the search for the original idea with creativity as the driving force, about the desire to express oneself, and the necessity to be true to the original idea. About art, play and a loose approach to reality.
Liberty is a cacophonous journey through KIC’s wildest, most important, worst and funniest performances, but at the same time an attempt to get to the meaning of the madness. Why did it turn out the way it did? And how did we get there? Where did it all come from, is there more to give and can the outside world even use it for anything?
In addition to being a best-off trip, LIBERTY is of course innovative and an experiment in itself. A performance machine that morphs outwards in a recreated scenography from the performance Blowjob. A large drawer system that comes to life and creates images as efficiently as a neural network shooting sparks. LIBERTY is not to be understood but experienced. All tools are used to impress, manipulate, provoke and entertain the audience. True to KIC’s slogan: “Less is more…but more is much more.”
★★★★★☆ LIBERTY – højoktanenergisk kropsekstravagance fanger kreativitetens eufori og trummerum
Idea & instructor:
Kristján Ingimarsson
Performers:
IDA FROST, MADS EMIL DUELUND, KRISTJÁN INGIMARSSON
Instructor assistant & production leader:
Anna Róshildur
Set designer:
Kristian Knudsen
Sound design:
Andro Manzoni
Light design:
Erik Lindkvist Thomsen
Costume design:
Tanja Bovin
Producer:
Arna Lára Pétursdóttir
Photographer:
Torfi Agnarsson
Graphics:
Lóa Dís Finnsdóttir
LIBERTY - Performance
A cacophonic journey through KIC's wildest, most important, worst and funniest performances, but at the same time an attempt to reach the meaning of the madness. Where did it all come from, is there anything more to give away and can the outside world use it for anything at all?
"DEPENDS, FOR WHO."
“Depends, for who.” is the first performance made as part of a project called “Automatised method of directing performances in interdisciplinary arts”. The main objective of this project is conceptualise, develop and test the new automatised method of directing multidisciplinary performances that will be more inclusive of the different media used on stage while enabling a different interpretation of content with each performance.
The need for a new method arises from the fact that productions are becoming increasingly multidisciplinary and therefore timely and expensive to put on stage and complex to perform, whereas audiences are demanding more diverse and more surprising productions. A potential answer to this challenge is proposed in this project in the form of a new way of directing performances by merging technology with arts.
The concept is that of a “closed” system that can work on a logic of “tension-release” where all performers are directed, in real time, by the main switchboard, onto which previously the detailed programme of a performance has been uploaded. On the basis of this upload and a set of rules guiding the performance, directions will be sent to performers, but which will nevertheless leave plenty of room for improvisation. The novelty is that the principle according to which the directions will be generated will be entirely flexible so that every performance may end up going in a different direction (while respecting the essential elements of the original piece). The decision about which essential elements should not be departed from will rely on a human operator at first, but this could eventually be replaced by artificial intelligence. The method will therefore consist of the following key elements: interdisciplinary input materials uploaded onto the switchboard (audio samples, sound bites, written musical sections, dance movements, dance choreographies, visuals, acting, educational program, etc.), the rules and paradigms according to which they could be reproduced, and finally output materials (signals to the performers). Each of these elements will require further research in the course of this project.
This method has the potential to reduce time for rehearsals and possible applications of this method are as an art form, as therapy or for educational purposes.
Concept, Sound Design:
ANDRO MANZONI (CRO)
Video Design, Programming:
ÁKI SEBASTIAN FROSTASON (ISL)
Performer:
KEITHY KUUSPU (EST)
Tallinn, March 2020
"DEPENDS, FOR WHO." - Multimedia Performance
Performance from the project “Automatised method of directing performances in interdisciplinary arts”. The main objective of this project is conceptualise, develop and test the new automatised method of directing multidisciplinary performances that will be more inclusive of the different media used on stage while enabling a different interpretation of content with each performance.
Cave Canem Morsu - A Short Documentary
We, Cave Canem Morsu, are creating unique interactions of electronics, instruments and sonic spaces, our vibrant musical universe fuses the traditionally separate sound worlds of acoustic instruments and electronics, creating sonic spaces which envelop the audience and resulting in a music focused on visceral interaction of instrumental performers with reactive computerized sound worlds.
Sense of unity, logic and purpose to our work is resulting from a number of distinct compositional procedures. All the fleeting images, virtual soundscapes, appears within musical extemporization and contemporary attitude toward art and creativity.
Determined by interaction, pushed to go beyond already established models of intelligibility and habitual practice of the self, our vision and considerable conceptual forcefulness blurs the picture of the possible and the impossible.
Video direction, camera & editing: David Šegić
Audio production: Leonard Medica Gregorič
Narrator: Ana Predan
CAVE CANEM MORSU - Music Project
We are creating unique interactions of electronics, instruments and sonic spaces, our vibrant musical universe fuses the traditionally separate sound worlds of acoustic instruments and electronics, creating sonic spaces which envelop the audience and resulting in a music focused on visceral interaction of instrumental performers with reactive computerized sound worlds.
SLANA VODA (SALT WATER)
When Alberto is left alone on a deserted island following a discussion with his fiancee, strange things start happening. He meets a girl that he spends the day with, but very soon things get out of control and what seemed like a nice summer trip turns into a tragic event that will mark him forever.
The short film by the young Croatian director Paula Mangano has participated on the prestigious Cannes Film Festival as part of the "Short Film Corner" section.
"The authenticity of the space is also evoked by the sound that plays an important role in the film. This space, but also the unusual atmosphere of the film, was marked by a film soundtrack composed by Andro Manzoni, a young percussionist and composer from Krk."
- Novi List
Salt Water is film from FAMU realised as a coproduction between Croatia and the Czech Republic. It is my most personal film to date and as a psychological thriller, set in a Mediterranean context, it crosses the line between realism and surrealism to enhance the main subject of the film - the loss of innocence.
Production: Studio FAMU, David Dešković
Director: PAULA MANGANO
Screenwriters: PAULA MANGANO, NINA MITROVIC
Director of photography: Vojta Dvořák
Editor:Rolando Garduño
Music: Andro Manzoni
SLANA VODA - Short Movie
Composition "Veglia" has been used for a movie soundtrack. Speciality of the soundtrack is the timbre of the musical instument sopile, an ancient traditional woodwind instrument of Croatia, similar to the oboe or shawm. It is used in the regions of Kvarner, Kastav, Vinodol, Island Krk and Istria.
ECOUTE LA - Elektra vue par Chrysothémis
(eng. LISTEN TO HER, Elektra as seen by Chrysothemis)
"Is it really me who has lived without living so many lives, including mine?"
Based on Richard Strauss' opera, Elektra, 1909.
“Richard Strauss opens up a hitherto unknown lyrical space: taut thread for 2 hours in a single act, oversized orchestra and stretching in the extremes of the female voice to the point of ugliness, to represent hatred and resentment in music – and give yet in these waves their echo soothed, by the deep tenderness that will animate the role of Chrysothemis and that of Elektra herself, later, recognizing her brother Orestes who arises in the heart of the opera for their dead father."
Hélène Pierrakos, on the libretto by Strauss and Hofmannstahl
With this work, we are experiencing of the work of Strauss, from the point of view of Chrysothemis. The discovery of the poems of Yannis Ritsos inspired the form. Indeed, from the monologues of Chrysothemis and Orestes, we place Chrysothemis as the one who shares this story with us. The viewer is immersed in a space where Chrysothemis is neither outside nor inside, is both a member of this family and at the same time witness to a story that is not hers and to which she will never really take part.
Traduction de l’extrait chanté par Chrysothémis (FRA)
CHRYSOTHÉMIS: (se relève mais ne monte pas sur scène, à Elecktra) Je ne peux pas comme toi rester assise, les yeux fixés sur le noir. J’ai comme du feu dans ma poitrine qui me pousse à errer partout dans la maison; pas une chambre où je puisse rester, je dois courir d’un seuil à l’autre, hélas! Je monte et descends l’escalier, je crois entendre des appels; et quand j’arrive, une pièce vide me fixe. J’ai si peur que mes genoux tremblent jour et nuit, j’ai la gorge serrée, je ne peux même pas pleurer, tout est dur comme le roc. Ma sœur, prends pitié!
[…]
C’est toi qui me rives au sol comme avec des anneaux d’acier. Si tu n’étais pas là, ils nous permettraient de sortir. Et sans ta haine, ton cœur indompté et toujours en éveil qui les fait trembler, ils nous laisseraient sortir de cette prison, oh, ma sœur! Je veux sortir! Je ne veux pas jusqu’à la mort dormir ici toutes les nuits! Je veux vivre aussi, avant de mourir, et avoir des enfants avant que mon corps ne se fane; qu’ils me marient avec un paysan, je veux lui donner des enfants, les réchauffer contre mon corps dans les nuits froides, lorsque la tempête ébranle la hutte. M’entends-tu? Parle-moi, ma sœur!
[…]
Aie pitié de toi-même et de moi! À qui profitent de tels tourments? Le père est mort. Et le frère ne revient pas. Comme des oiseaux attachés, juchées sur notre perchoir, nous tournons la tête à gauche, à droite; personne ne vient, pas de frère, aucun messager du frère, aucun messager du messager, rien. De leurs lames, les jours marquent ton visage et le mien; dehors, le soleil se lève et se couche ; les femmes que j’ai connues sveltes, enceintes s’alourdissent, se traînent au puits, ont peine à soulever les seaux, et tout d’un coup, délivrées de leur fardeau, reviennent au puits; et c’est de leur corps que jaillit un doux breuvage pour les vies nouvelles, les nourrissons suspendus à leur sein ; puis les enfants grandissent. — Non, je suis femme, et je veux un destin de femme. Plutôt mourir que de vivre sans vivre..
SOPRANO: Songha Lee (Chrysothemis)
MUSIC and SOUND: Andro Manzoni, Francis St-Germain (Elektra)
SCENOGRAPHY: Marie Bonnemaison, Blandine Granier (Orest), Léa Tilliet
LIGHT: Madhilda Bouddau , Elie Martin
COSTUME: Marnie Langlois, Gabriella Lopez
PHOTO: Léa Tilliet
ECOUTE-LA - Opera
Based on Richard Strauss' opera Elektra from 1909. The electro-acoustic music version of the opera is arranged and designed for an immersive sound system that gives a three-dimensional sound experience.
UPROOTING
Uprooting is a multimedia performance in seven parts in which several art disciplines are used to create a complete experience for the audience. For that purpose, there is an artistic team, formed by 3 multidisciplinary artists, which takes care of composing and performing the piece:
Áki Sebastian Frostason (Iceland)
Musician, performer and audiovisual artist.
Andro Manzoni (Croatia)
Musician, composer and performer.
Juan Fran Cabrera (Spain)
Musician, performer and visual artist.
The main disciplines combined for this project are:
- Music: Live and pre-recorded music with electronic and traditional instruments.
- Audiovisual art: Pre-recorded and live video.
- Performance art: Movement. Various uses of the body and space.
- Fine art / applied art: costumes, sculptures and other materials for videos and live use.
Each block has its own topic which its composition is based on. During the composition process, there will be an exploration in which we will try to discover the best possibilities for the combination of music, audiovisuals and movement, so the result of each block will reach its full potential through maximizing our possibilities to express its meaning.
We unite as three experienced artists from different corners of Europe with a deeply personal subject where we can explore both our cohesion and difference as artists and emotional beings. On an Interdisciplinary basis, we enforce ourselves to follow a structured method to achieve intimacy and honesty in a society where men are generally encouraged to repress their emotions. We aim towards a result that can inspire us and others to free themselves from the burden of emotional repression. Our goal is to create a work that will bring new solutions to connect various art disciplines, to separate us from the current pre-built genre system and to create something which will not be bound by social limits, making it possible for us to go beyond our usual line of work. With this process, we are not just trying to obtain a result that could be attractive or pleasing for the audience but also to consider territories that are not comfortable in modern society and to explore and express those extremes. Neither are we aiming to find novelty in the artistic society as an objective itself, but try to create a work that is fully committed to art, since we believe that this is the only way to make innovation possible.
UPROOTING - Multimedia Performance
Uprooting is a multimedia performance in seven parts in which several art disciplines are used to create a complete experience for the audience. For that purpose, there is an artistic team, formed by 3 multidisciplinary artists, which takes care of composing and performing the piece.
D'ORIGINE
Benedetta Agostinis - Choreography and performance
Andro Manzoni - Composition, music performance
“d'Origine.” is the title of the exhibition of installations by Margherita Baggi, an interdisciplinary musician and artist, hosted from the 20th to the 31st of August 2020 in the A. Fittke Room in Trieste.
The event, in collaboration with the “Il Metropolitan” dance school, was included in the Fittke2020 program organized by the PAG, Youth Area Project, of the Municipality of Trieste.
The works were born from the artist's desire to make her grandparents relive the colors and sensations of the lands they come from: Istria and Dalmatia, to which she herself feels deeply connected.
Considering the message behind the exhibition, the Fittke Room has been used as a set, where Margherita invited some international musicians to perform and share their own reflection on the "sense of belonging to a place".
Selected works:
Veglia
TGC no. V in G minor
For voice and environmental accompaniment no. I
D'ORIGINE - Dance Performance
“d’Origine” is the title of the exhibition of installations by Margherita Baggi. The main inspiration for the performance derives from the stories behind the artworks and our personal reflection on the “sense of belonging to a place”.
LA LEGGE DEL PRINCIPIO DI SOVRAPPOSIZIONE
“La Legge del Principio di Sovrapposizione” (The law of the superposition principle), a series of works in which superposition is taken as a peephole to observe social structures and their impact on the ecosystems. “Human societies have invented an infinite number of values, practices and artifacts which are used to govern their relationships and place in society.” Where do we place ourselves? In relation to who do we position ourselves? Do we fully own the responsibilities of omnipotent roles that we claim for ourselves?
The world and our place within it need to be understood and conducted through models where biodiversity and cultural diversity are respected and interlinked, our societies capable of reforging the bonds that connect with the environment. With a strong emphasis on individual responsibility, perhaps it is better to learn how to noticeably impact the masses, which are generally dictated by financial imperatives.
Sonically, the work can be defined as electro-acoustic music, where compositional decisions are often informed by sonographic representations and mathematical analysis of sound spectra. Focus is on the psychoacoustic concepts of the sound in a “live” environment rather than its potential semantic qualities. The visual part, intended for 360-degree stage design, combines visual art and physical performance.
Distinguished by its simplicity and intention to create strong static imagery, motion reminds of repetitive graphics interchange format (GIF). Superimposed layers of impulses leave the audience to observe the work inside the space where harmony exists without hierarchy.
La legge del principio di
sovrapposizione no. III
(Stereo)
La legge del principio di
sovrapposizione no. IV
(Binaural)
LA LEGGE DEL PRINCIPIO DI SOVRAPPOSIZIONE - Music Project
“La Legge del Principio di Sovrapposizione” (The law of the superposition principle), a series of works in which superposition is taken as a peephole to observe social structures and their impact on the ecosystems.
TGC
TGC (Tone Generator Composition) are selected studies originally written for music ensembles and rearranged for tone generators. The main objective of this studies are relations between musical language and psychoacoustic potential of the sound.
The essence of the compositions are simple ratios. Determined by a precise calculation, the music merges pitch and rhythm into the single unit. The laboratory approach to the musical structure and parameters has created a new possibility of organizing sound in the time and space (with multi-channel sound system). Currently studies are in the process of developing the structure of a musical compositions through algorithmic composition techniques. Main source of inspiration comes from aesthetics of nature and its formations.
Sound material designed with sine waves, drained to its essentials gives us the sensation of a sterile-utopian environment where sound clarifies itself. Studies are derived as an installative, performative or immersive works conceived of for multi-channel sound systems. Through the implementation of multiple loudspeakers, listeners are placed within a three-dimensional sonic architecture.
Studies are also part of a research called “Tools for development of rhythmic complexity”, ongoing research since September 2016.
TGC no. I in E minor (a)
(Stereo)
TGC no. IV in D minor (a)
(Stereo)
TGC - Music Project
TGC (Tone Generator Composition) are selected studies originally written for music ensembles and rearranged for tone generators. The main objective of this studies are relations between musical language and psychoacoustic potential of the sound.
EPISODIC IMPROVISATION
Episodic Improvisation is defined as a type of improvisation based on musical fragments/episodes, composed over time, which do not belong to a precise composition and which behave like memories in episodic memory: you can access it when you want, as you want (in detail, superficially or by connecting several) and each of them brings with it a precise sensation because it is linked to real musical memory. The improviser chooses how to "tell" the episodes, and therefore how to channel them within a musical discourse.
The project's compositions have been developed from the beginning with reference to the creative and sonic possibilities of the guitar. The compositions, as a whole, however, are the result of a mixture of ideas, matured over time. In all this, improvisation plays a fundamental role in the reinterpretation of scores and is understood in a broader way than the meaning attributed to it in traditional jazz culture: within the pieces, each instrumentalist has total control of a given musical parameter (melody, harmony, rhythm, tempo, timbre, sound design); hence the choice of three elements so clearly differentiated as percussion, guitar and soprano saxophone. At the same time, roles can still exchange, subdivide or even merge. For these reasons, many scores are made up of raw material, rearranged according to precise musical themes and objectives
Piercarlo Favro - guitar
Giorgio Giacobbi - soprano saxophone
Andro Manzoni - percussion
EPISODIC IMPROVISATION - Music Performance
A type of improvisation based on musical fragments/episodes composed over time and which do not belong to a precise composition and which behave like memories episodic memory. The improviser chooses how to "tell" the episodes, and therefore how to channel them within a musical discourse.
Omni Academy
"Alignments with the energy of the Earth and the Source" - this process is accompanied by the music composed especially for it. Composition is result of the exploration based on Schumann resonance, harmonic series and binaural beats in theta (θ) and delta (δ) frequency band. Score for the vibraphone is inspired by Brian Eno’s album “Ambient 1: Music for Airports” combined with formula for the frequency oscillation period and score for the flute is musical interpretation of the movements during the alignment process.
Centar Svijesti – Ivan Bavčević
Video production – www.oa.hr
Audio production – Andro Manzoni
Music
Hannah Wirnsperger – flute
Iva Bobanović – guitar, arrangement
Andro Manzoni – vibraphone, sine wave generator, composition
OMNI ACADEMY - Sound Design/Composition
OA is a platform for personal development and self-help. Over past two years we have been collaborating on a several projects.
Pazi Oštar Pas
The duo "pazi oštar pas" is comprised of the percussionist/sound artist Andro Manzoni and the guitarist/electronic musician Leonard Medica Gregorič. The duo is mainly active in the fields of improvised, experimental and contemporary music. Our music is the result of a compositional process primarily centered on the production of dense, slowly evolving electro-acoustic textures, which create a deeply immersive sonic experience for any listener. So far we have self-published 3 releases, the latest one being “batiskaf”, a collaboration with singer/vocalist Ana Predan.
About the video:
On October the 25th (2018) Trieste Collective YEAH organised a special event within the so called Kline Berlin; the complex of underground air-raid tunnels dating to World War II, which still exists in Trieste, Italy.
Music by Pazi Oštar Pas
Visuals by Fabrizio Comel
Video by Manuel Destro
Yeah is a music community based in Trieste following the international music scene in search of the best live acts, talents and brand new in order to promote music as a world common language for both music pros and audience.
Website: https://weareyeah.it
PAZI OSTAR PAS - Music Project
Duo comprised of percussionist/sound artist Andro Manzoni and guitarist/electronic musician Leonard Medica Gregorič. The duo is mainly active in the fields of improvised, experimental and contemporary music.
MILLION EAR
In their second release, Million Ear continued down their path of experimentation with form, abstraction and sound. Created around an improvised set of electroacoustic music recorded in the Laboratory of Music Acoustics and Technology in Athens, Greece, the performance was then infused with vocals, live drums, and manipulated in the studio to create Hauntological.
Haunted by memories of spaces and in turn haunting those spaces as memories, our experience is ghostly as it can be absent — yet real. Hauntological is a symbolic journey of developing self-awareness. A simultaneous exploration outwards into the urban environment and inwards to a psyche conditioned by it. A search for an elusive sense of unity inside a present that is always mixed up with the past and the future.
HAUNTOLOGICAL
Released November 1, 2021
Filippos Glinavos - voice, guitar
Rok Zalokar - keys, fx
Andro Manzoni - drums
MILLION EAR - Music Project
Experimental, hiphop, noise band based in Rotterdam, Netherlands.
OMBRA 45
Two young women experience an atomic explosion backwards. They come out of the ruins in search of their body, their essence, and their shadow imprinted on the ground.
Choreography and performance: Benedetta Agostinis and Alice Parovel
Music: Andro Manzoni
September 11 and 12, 2020
Sud Palazzo Ottoni, Matelica (MC)
FACEOFF Festival 2020-2020 edition
Associazione Pro Matelica
OMBRA 45 - Dance Performance
Two young women experience an atomic explosion backwards. They come out of the ruins in search of their body, their essence, and their shadow imprinted on the ground.
ISHI NO HODEN
Original contemporary jazz tunes inspired by Japanese music and folklore.
released December 18, 2018
Recorded live at Casa della Musica - Trieste (Italy) on the 20th of April 2018 by Urban Recording Studio
Mixed and mastered in May 2018 by Urban Recording Studio
Produced by Camilla Collet and Giorgio Giacobbi
All the tunes are composed by Camilla Collet
Ishi No Hoden are:
Camilla Collet - drum set
Andro Manzoni - percussions
Pietro Spanghero - doublebass
Francesco De Luisa - piano and keys
Giacomo Zanus - electric guitar
Mirko Cisilino - trombone
Giorgio Giacobbi - tenor and soprano saxophone
Cover artwork by Diana Leone
ISHI NO HODEN - Music Project
Album with original contemporary jazz tunes inspired by Japanese music and folklore.
LO.LA. - Music performance
On 18-21 July 2018 took place at the Estonian Academy of Music and Theatre (EAMT), Tallinn, and the Conservatorio di Musica "G. Tartini", Trieste. A 4-day workshop with the aim to test how can research and education networks connect musicians in different countries so they can rehearse and perform together. This event was globally first of its kind.
Each day of training was followed by a rehearsal, with the week culminating in a real LoLa use case – ‘Remote Transitions’, a concert with a live connection between Tallinn and two locations in Italy.
Video from the life performance on Jul. 21, 2018:
Tallinn
Vladi Bystrov - Saxophone
Reso Kiknadze - Saxophone
Trieste
Piercarlo Favro - Guitar
Aleksandar Koruga - Live Electronics
Mattia Piani - Live Electronics
Andro Manzoni - Drums and Percussion
San Giorgio, Venice
Giovanni Maier - Doublebass
Nina Alexopoulou - Dancer
Roberto Fazio - Interactive Video Design
LO.LA. - Network Musical Performance
Music and technology combined at LoLa training and concert in Tallinn, Trieste and San Giorgio-Venice.
SPACES VII
Recorded live on April 17th and 18th 2019 in a former cattle barn on a farm in Lesno Brdo, Slovenija. Smaller space gave percussion snappiness in higher registers & quicker passages, while the arched ceiling provided interesting and unexpected resonances & responses.
The village atmosphere with church bells, birds, occasional tractor or plane, added an additional liveliness to the recording and guided the music as well. Apart from the recording crew, there was no audience.
Headphones recommended.
‘Spaces’ are series of live recordings, capturing synergy between a performer & place, following simple guideline of »One performer, one instrument, one space.« We strive to record and capture environments that are in one way or another isolated, hidden or forgotten from the outside world - and yet much part of it.
Recordings are done fully live, usually in one go, with no or minimal audience (the recording crew). One stereo microphone is capturing ambience from a standpoint of listener, while couple of microphones are listening to the performer up close. We use field audio recorders instead of computers. And we make occasional exception to everything, because...why not.We also make an effort to create interesting and intriguing visual documentation, using our own on-spot methods rather than post-processing editing.
Released: June 21, 2019
Andro Manzoni - percussion, triangles
All music and improvisation by Andro Manzoni
Sound recording: Jernej Babnik Romaniuk, Primož Vižintin
Additional mastering: Uroš Usenik
Photos: Primož Vižintin, Jernej Babnik Romaniuk
Design: Jernej Babnik Romaniuk
Concept and publisher: Zavod Murmur, www.murmur.si
Thanks goes to: Samo Kutin, Ana Kravanja, Matjaž Moraus, Peter Dekleva
SPACES VII - Music Performance
'Spaces' are series of live recordings, capturing synergy between a performer & place, following simple guideline of "One performer, one instrument, one space."
DISKURZ
“Šut" was created in collaboration with Diskurz and Angel Jurkas, who signed the lyrics - a musically extremely good piece, ‘motoristically’ colored, torn between slowed and accelerated rhythm sections, with vocals partially passed through the ‘megaphone’ filter. Textually simple but sharp, arranged in the manner of the famous ‘stop-start’ phrasing, with an ironic look at life and the (im)possibilities it offers - with the refrain highlight “And with your foot in your ass is a step forward”, a quote directly taken from Mao's aphorisms.
Album review: LINK
ALBUMS
DISKURZ - Music Project
Alternative rock band from Rijeka (Croatia) was formed in 2006. They have released 5 studio albums signed with Dallas Records and Todo Destrudio. Singer, songwriter and producer Bojan Bajić (Leifert) was the only permanent member of the band.
DOSADA (2013)
The anti-motivational physical performance “Dosada” (eng. “Tedium”) is made for drug and alcohol addicts. Rooted in the idea of the disillusioned third-person angle, the video shall enable people in similar circumstances to identify with the character and in theory invoke repulsion towards drugs and prevent potential addiction.
At first, the character is bathed in white, representing humanity’s purity and holiness (sacred/divine). Only their eyes are black, mirroring their nature as main gates into our body, and allowing for its pollution. In accordance with the depth of commitment towards drugs, the body is gradually contaminated, until eventually contamination takes over. The faeces that the character is rolling inside of stand for the consequences of materialism on people’s lives. We observe destruction as the character replaces morals with addiction, losing all faith in the process. The toilet seats represent the levels of humanity, as the water inside constitutes the holy water. Through time it undergoes the change from a purifying agent to the recipient of betrayal.
The name of the movie, “Dosada”, describes the human condition of losing one’s purpose in the eye of overwhelming opportunity. Being given freedom and handing it out carelessly, thereby risking letting go of human virtue; faith, love, and hope. The performance is recorded in one take, expressing the brutality of reality as closely as possible.
©2013, Andro Manzoni, Ivan Petrinić
DOSADA - Physical Performance
The name of the movie, “Dosada”, describes the human condition of losing one’s purpose in the eye of overwhelming opportunity. Being given freedom and handing it out carelessly, thereby risking letting go of human virtue; faith, love, and hope. The performance is recorded in one take, expressing the brutality of reality as closely as possible.
Andro Manzoni | 2021
andromanzoni@gmail.com