A co-commission from 180 Studios and Reality.
‘Damaged Melody’, the second single from Caterina Barbieri’s new album Spirit Exit, is accompanied by a beautiful visible from director Iacopo Carapelli and artist Ruben Spini, which units gorgeous, slow-motion footage of levitating our bodies in opposition to Barbieri’s equally transcendent synths and haunting vocals. Selecting up the thread of ‘Knot Of Spirit’, a collaboration with “futurist people” musician Lyra Pramuk and the primary launch on Barbieri’s just lately launched label platform, light-years, ‘Damaged Melody’ showcases the composer’s customized modular synth rig, which she developed over the course of the making of Spirit Exit in her house studio in Milan.
Spirit Exit marks the primary album Barbieri has written completely on this studio and was recorded throughout Milan’s two-month pandemic lockdown in 2020. The follow-up to 2019’s Ecstatic Computation and 2017’s Patterns Of Consciousness sees Barbieri exploring inside worlds, drawing affect from St. Teresa D’Avila’s foundational sixteenth century mystical textual content The Inside Citadel, thinker Rosi Braidotti’s posthuman theories and the metaphysical poetry of Emily Dickinson.
“I composed Damaged Melody and most of Spirit Exit throughout the first lockdown of 2020 in Milan, when Milan was one of many darkest hotspots of the pandemic,” Barbieri says. “Throughout this time of utmost self-isolation, music grew to become for me like a portal to transcend a state of confinement and sensorial deprivation. It was the one approach to journey in time and house when motion within the outdoors world was not attainable. Throughout this time, I believed so much concerning the spatial dimension of confinement as a robust archetype of the feminine situation up to now and the way it formed the visionary, mystical vein of feminine thought. Feminine poets, artists, mystics have been typically residing segregated lives – observing the world from a window, a gate, a filter. As they couldn’t freely transfer within the outdoors world, they have been typically redirecting their very own power in direction of the interior world, thus cultivating a cosmogonic modality of thought. The friction between the constriction of their bodily lives and the cosmic freedom of the interior world and energy of the thoughts is on the very root of visionary feminine considering. It’s pioneering, feminist sci-fi. It’s the “inside citadel” of Santa Teresa D’Avila. It’s Emily Dickinson’s “The Mind – is wider than the Sky (…) The Mind – is deeper than the Sea”.”
Components of the footage taken for the ‘Damaged Melody’ visible function as a part of ‘Vigil’, a multimedia set up from Caterina Barbieri and frequent collaborator Ruben Spini, newly commissioned by 180 Studios, which is now on show as a part of Future Shock, a serious exhibition of 14 main worldwide artists and collectives working on the cutting-edge of audiovisual know-how.
“The video for Damaged Melody explores a number of the themes of the tune: love, loss, empathy and melancholy on a ghost planet. There’s a dystopian vibe however there may be additionally a bizarre sense of romance related to it, like a love tune to the tip of the world,” says Barbieri. “The video takes inspiration from the iconography of feminine topics represented in ambiguous sensorial states, suspended between contemplation and demise, ecstasy and annihilation. Gradual-motion imagery of solitary figures in uncanny, desolate landscapes depicts a collection of tableaux vivants infused with magic realism and melancholia.”
“Not like the rest, music can channel the advanced, stunning spectrum of emotions that pure landscapes evoke in people. In our audio-visual collaborations, Ruben and I’ve typically used sound and imaginative and prescient to discover that religious, ecstatic connection to nature – a sort of expertise turning into an increasing number of uncommon in late capitalism.”
“In our earlier collaborations, Caterina has all the time been framed as a central topic, performing because the gravitational pole round which her melodies, my imagery, and finally the eye of the general public orbit collectively,” Spini says. “It’s a delicate stability able to making a quite distinctive connection between her personal efficiency and our notion: as soon as this channel is opened, we expertise the identical vibrant emotions that orient her observe, by rapture and catharsis.”
“With the ‘Damaged Melody’ video we wished to discover comparable depths of emotion, although this time by evoking them by a number of topics and factors of view. The pure surroundings acts once more as a counterpoint to the characters’ emotions, and although the circumstances of their tales are barely hinted at, we relate to their fierce universality. In a way, they symbolize our collective recollections, wishes of escape and love, experiences of loss, ghosts of our previous and our future.”
“As for the interpretation of the sound and the phrases of the lyrics, I anchored myself exactly to the sensation of the idea, making an attempt to emphasize the distinction between stasis and interior motion, between abandonment and ecstasy,” says director Iacopo Carapelli. “Along with the director of pictures (Giuseppe Favale) we pushed exhausting to make use of tremendous gradual movement. Even when it isn’t simple to create rhythm with this system, we have been positive it was the precise interpretation for the character of the sounds.”
“Taking pictures with this sort of gear shouldn’t be simple, you want an enormous amount of lights to provide only a easy glimpse of sunshine on the topic. We shot all of the tableau vivants in a black theatre with some scenographic components, generally prolonged with the assistance of post-production. The piece has many musical layers and it was not simple to interpret one particularly.”
“The piece has many musical layers and it was not simple to interpret one particularly. Typically, like within the flying boy scene, the modifying slows down so much however the scene stays in time with the synth’s entry. In different circumstances, nevertheless, just like the woman who rises from her ashes, the montage breaks the clip in rhythm with the notes of the bass.”
Barbieri and Spini’s set up at Future Shock, titled Vigil, options the Damaged Melody video taking part in on one aspect of the house, with one other video work current behind a slowly melting ice sculpture. “Within the exhibition is a panorama scene, portrayed by the round LED wall as if it was seen by a telescope lens,” Spini says. “The solar is proven low over the horizon, nevertheless it by no means adjustments its place – it’s due to this fact a matter of interpretation whether or not to contemplate it a sundown or a dawn. On this dimly lit room the place the passage of time is employed as a story system I wished to depart each potentialities open: a coming day, a falling night time. With the deeper feeling that, till we gained’t go away this place of withdrawal, the stasis gained’t be damaged.”
“An identical lack of reference factors occurs on the spatial stage, within the ogive panorama that morphs constantly beneath the paralysed solar. Because it’s typically true for my video works, it’s shut in idea to what 18th century painters outlined as “capriccio”: a plausible scene with no distinctive real-life reference, created by the juxtaposition and layering of various settings. It’s a portrait of the skin world, however has no particular topic. Once more, it principally acts because the illustration of a chance.”
Future Shock, which runs till 28 August 2022, transforms 180 Studios’ subterranean areas by mesmerising and pioneering digital know-how – from generative and interactive algorithms, AI and 3-D digital mapping, to spellbinding laser work, holographic projections and ground-breaking digital music. Tickets are on sale now by way of the 180 The Strand web site.
‘Damaged Melody’ is out now and is taken from Caterina Barbieri’s album Spirit Exit, which is obtainable now. You could find Caterina Barbieri on Instagram.
‘Damaged Melody’ Credit:
Artist – Caterina Barbieri
Label – light-years
Idea & Artwork Course – Caterina Barbieri & Ruben Spini
Director – Iacopo Carapelli
DoP – Giuseppe Favale
Editor – Iacopo Carapelli & Elena Petitti di Roreto
Colorist – Orash Rahnema
Publish manufacturing – DEEPICE, Mauro Moretti, Roberto D’Ippolito
Titles – Nicola Tirabasso
Produced by C41
Govt Producer – Barbara Guieu
Manufacturing Supervisor – Maria Borgognoni
Assistant Producer – Lorenzo Poloni
Co-Produced – Blackball
Co-commissioned by 180 Studios and Reality Journal
Scenography – Fabrizio D’arpino
Assistant Scenography – Elena Strafella
Prop Grasp – Gianfranco Parmigiani
Motion Director – Elisa Zuppini
MUA – Greta Giannone
Characters: Inga Lavarini, Federica Nicastro, Omar Jaimes, Costanza Candeloro, Filippo Beccati, Joselin Solange Morales, Giulia Fossati, Gabriele Gangi, Elisa Zuppini
Phantom Operator – Claudio Fusini
1st AC – Paolo Gobbi
2nd AC – Davide Bongiorni
Stage AC – Riccardo Lorenzi
Gaffer – Francesco Galli
Elettricista – Fabio Proserpio, Marco Marangoni n
Key Grip – Riccardo Villella
Grip – Alessio Zecchinello, Fabio Macchi
Rigger – Luca Fachini, Enrico Comeo
Drone – Turbostudio
Drone Operator – Rocco Diddio
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