„La Voix Libérée. Poésie Sonore” was an exhibition project organized by the Bonotto Foundation, an institution dedicated to the collection and promotion of Fluxus art and experimental poetry, such as visual poetry, acoustic poetry and digital poetry.
Fondazione Bonotto was created to promote the Collection of the entrepreneur Luigi Bonotto, who from the early seventies to the present day has collected numerous testimonials, including works, audio and video documentation, posters, books, magazines and editions by Fluxus artists and international verbal-visual research, developed since the late fifties.
The Foundation has digitized the entire Luigi Bonotto collection: works, editions, documents, audios, videos, etc., making it freely available on its website. More than 16,000 documents catalogued for more than 60 hours of navigation, with about 2,500 audio and video files are available on Fondazione Bonotto
The exhibition „La Voix Libérée. Poésie Sonore“ was curated by Eric Mangion and Patrizio Peterlini, director of the Bonotto Foundation. As an echo to the exhibition (21 March – 12 May 2019, Palais de Tokyo, Paris), Kunstradio presents a selection of works from “La Voix Libérée”, including an excerpt from a performance by Jörg Piringer on a special Sound Poetry Weekend on 27 April. With this broadcast, Kunstradio enters a network of radios and websites that – by following and re-launching the exhibition with specific programs – spread the project out into the radio space.
1) Jörg Piringer, „srfaem“ – 1‘30‘‘ https://vimeo.com/118334219
2) Tomomi Adachi, “This means Oh Boy, that BBQ meat is too big” – 4’12’’
3) Jaap Blonk, „Kurt Kurt Kurt“ – 4‘33‘‘
4) Giovanni Fontana, „Il gioco delle voci 1“ – 5‘03‘‘
5) Pierre Garnier, „Anthropologie“ – 9‘31‘‘
6) John Giorno, „Groovey & Linda“ – 9‘21‘‘
7) Zuzana Husarova, “TA” – 2’06’’
8) Katalin Ladik, „Golden Apocalypse“ – 2‘24‘‘
9) Maurizio Nannucci, “Cut Words” – 3‘12’’
10) Gerhard Rühm, „Phonetische Meditation“ – 5’08’’
Excerpt from the exhibition concept:
What remains of these heroic struggles today? Myths and legends.
However, times have changed, as have the fighters.
Utopias don’t look the same anymore.
New technologies have now invaded the space of language, for better or for worse.
For the worse, by imposing a digital rationalisation of words and sounds.
Shakespeare’s English becomes Wall Street’s.
For the better by giving language infinite sources and tools.
Since the 1950s, technological advances have allowed phonetic poetry to become sound. But one gets lost between the use of these tools as simple vectors, the absence of poetry behind technical processes or, even worse, the fascination of their (cultural) power. One also gets lost because orality has made a great return to art in recent years, sometimes in the confusion and inappropriate use of words.
But sound poetry evolves with its time.
La voix libérée - Poésie sonore exhibition (Liberated Voice - Sound Poetry) offers a path, free of nostalgia, between the voices of the past and those of the present. It immerses us in a direct and absorbing way among artists who still use words and sounds as an exercise of freedom.
Poetry still allows us to put man at the centre of life and art.
How to stay human while the world multiplies?
How to assert one’s own singularity?
The result of more than a year’s research, the exhibition is designed as a device that crosses sound poetry, in a non-exhaustive way, from the end of the Second World War up to contemporary developments.“
Palais de Tokyo
Fotos: Anette Lenz