Silvia Tarozzi & Deborah Walker ⟡ funcionário

Galeria Zé dos Bois

Silvia Tarozzi & Deborah Walker

Almost a century after the end of World War II, its woes still echo in these times like a specter that swirls beyond memory. Acting in a frighteningly real present with the return of avowed facism to power in Italy – after all, what really was Berlusconi’s thinly veiled totalitarianism? Hence, more than ever, Silvia Tarozzi and Deborah Walker’s Canti di guerra, di lavoro e d’amore proves to be of absolute urgency and pertinence, even as it rescues the songbook of resistance and working-class female emancipation from the years of that Great War, from the distance. The past haunting the present in the continuous urgency of those same songs, the immortality of folk embodied in new lives, because the struggles are (and will be?) always the same. Revisiting this precious and little-known legacy, Tarozzi and Walker recontextualize memory to endow it with new perspectives, new experiences, in opposition to empty revisionism.

Artists with a background in modern composition and improvisation, having already performed pieces by Eliane Radigue, Phil Niblock or, with particular affinity, Philip Corner, Tarozzi and Walker treat these songs with care, knowledge and sensitivity. Music that was a fundamental part of Tarozzi’s childhood in rural Northern Italy and that is interpreted here in the light of the most alive contemporary music, out of the mere canonical or predatory trim, but rather in an organic synergy between folk and the techniques and languages of improvisation and modern composition. Released this year on the vital Unseen Worlds, the label responsible for bringing to light today the work of Carl Stone, Laurie Spiegel, or “Blue” Gene Tyranny, Canti di guerra, di lavoro e d’amore intermingles ancestral chant with instrumental passages, where Tarozzi’s violin and Walker’s cello become entangled in a clamor of languid chords, as if carrying the pain and hope of lives past and present, in a whole of hypnosis without time.  BS



(French fonctionnaire)

masculine noun

An employee of the civil service.
One who has a permanent, paid occupation = EMPLOYEE

employee is the solo project of Pedro Tavares (PT) primarily focused on the expression of everyday life and all its facets, not as a continuous narrative, but as an agglomeration of sensations – the power of sound as a bridge between memory and the imagination that interprets it. As collages of music, the emphasis is on the profound endoesthesia that weighs on the attentive listener: it is not the tiredness of toil, the longing for what is lost: it is the essence that leads to all the other sensations.

From intensive sampling and digital melodic exploration, the project’s music goes back to great classics of experimentation inside and outside borders: the ethereal Plux Quba (Nuno Canavarro), the more-than-modern musique concrète innovators (like Pierre Schaeffer and Pierre Henry), the nostalgia of the not-forgotten 90’s Boards of Canada. We find in this bundle of references a mixture of revivalism of what would be the sound of the future for the pioneers of electroacoustics and a post-internet response to them. More than reviving, the employee’s music reinterprets the sounds of the vanguard, transposing them to this new era of MIDIs and the World Wide Web.

Text by Luan Bellussi

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