At the beginning of our conversation we listened to three tracks: a group of dogs near the magnetic pole in the Canadian arctic howling at the moon, a piece by Violeta Parra titled Qué vamos a hacer, here in a modified version where I dubbed the voice turning the pitch a fifth lower in such a way that it sounds like a male voice is singing along (I wanted to have her duet with Gilbert Favre, her partner and partly the cause of her depression that eventually lead to suicide). The work I am doing now is to work with the records and in each occasion I approach the collection differently with live sampling, dubbing, overlapping, and breaks.
By (re)discovering these records left unheard for years, I got the chance to better know Gianfranco through his personal relationship to music: from sound poetry to first editions of historical labels, from rare recordings of popular and resistance songs to sea and mountains’ soundscapes, but also a collection of ritual and folk instruments, some Arabic music, educational editions, sound effects for cinema, and so on. After the making of the soundtrack for the film and the foundation’s invitation to formulate an idea for a live event during the exhibition, I’ve decided to focus on Gianfranco Baruchello’s private record library: a careful selection of about fifty records emerged from following the same principles.
An approach that seems to characterize both the musical selection you made for the Fondazione Baruchello, as well as for the arrangement of the video soundtrack in which various contrasting elements emerge in a non-univocal style.įrancesco Fonassi: A holistic approach to signs is a good way to describe the methodology that brought me and Carola to work together. This approach could be defined as holistic, since it is multi-signific, oriented to unite different levels of discourse and different references as a new whole, which acquires greater significance with respect to the simple sum of its parts because of its unusual form. Starting from this image, we begin to understand how Carola constructed her work, intertwining references from different cultures, reinterpreting and modifying them, connecting them in order to create a more personal narrative that would follow the trace of her own research. Through the same face and the same voice, the Nymphs split unity into a triad and reunite the triad into unity, precisely because they are the same person. In the video Polia is embodied by three female figures, the Nymphs. Irene Bianchetti: In Greek, Polia means “multitude.” The woman loved by Poliphilo (literally “the one who loves many things”) is a figure who beholds complexity and difference within herself, combining multiple visions and individuality. The soundtrack and the audio project of the video Polia are by Francesco Fonassi, here talking with anthropologist Irene Bianchetti on the making of (translated from Italian by Ryan Worth). The allegory of time becomes a central aspect of the work which alludes to suspended and anachronistic temporalities. More than the narrative character of the book, Carola Bonfili’s interest lied in the ambiguous and polymorphic nature of his xylographies, which illustrate the passages of Poliphilo’s dream and suggest different narrations and possible events in the same depiction. The project is inspired by the book Hypnerotomachia Poliphili (1499), which describes the erotic dream of the protagonist, Poliphilo, as an initiatory journey to find his beloved woman, metaphor of an interior transformation in search of platonic love. Polia is the new project of Carola Bonfili specifically conceived for the space of the Fondazione Baruchello at Via del Vascello, curated by Carla Subrizi.
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