Malgrado col tempo si sfaldi di Stefano De Ponti è il Radia Show 876 e siamo felici di presentarlo a voi e a tutta la rete delle nostre consorelle.
Composizione, soundscapes, testi ed elettronica Stefano De Ponti
Percussioni e vibrafono, Elia Moretti
Voci e clarinetto David Ryan
Voce, Eleonora Pellegrini
Foto Andrea Berti
Prodotto con l'umile contributo di Radio Papesse.
Attraverso una drammaturgia sonora non lineare, Malgrado col tempo si sfaldi ripercorre l'universo espressivo de La natura delle cose ama celarsi, un percorso di ricerca che Stefano De Ponti ha condotto a partire dal 2019 e che affronta le dinamiche di massificazione e accumulo dei processi di creazione e fruizione musicale, poste in relazione con l’inevitabile impermanenza che accomuna ogni cosa.
L'immaginario poetico e le peculiarità materiche della pietra serena – un’arenaria endemica delle zone abitate dall'autore – fanno da sfondo a un affresco intermediale in costante divenire, in bilico tra progettualità e casualità degli accadimenti, in cui processo e opera si sovrappongono fino a fondersi.
Malgrado col tempo si sfaldi è una composizione costruita partendo dai quaderni di lavoro di Stefano De Ponti e dall'accumulo di materiali di ricerca e intuizioni raccolte durante le indagini sul campo; raccoglie e organizza un’ampia serie di pensieri, schizzi e resoconti dell’attività fin qui svolta, tracciando un percorso che vuol valorizzare gli aspetti artigianali e relazionali del processo, lentamente costruiti in loco, tra gli ambienti della cava Nardini di Vellano, il Nub Project Space di Pistoia e il centro di ricerca Tempo Reale di Firenze.
Testi e riferimenti
Breve trattato sull’arte involontaria, Gilles Clément
Le metamorfosi, Ovidio
La tana, Franz Kafka
Il paesaggio sonoro, R. Murray Schäfer
La Notte, Michelangelo Antonioni, 1961
David Ryan legge:
It is a question of environment, relationship, selection...
Stay on things, listening, at the service of the matter
Contemplate.
Making poetry with scattered fragments of language
(the light of reverie is sacred)
- Which sound was heard first?
- The caress of the waters.
- What does a sound communicate simply by being there? By existing...
Suddenly, at the sound of a small stone I forgot everything.
The ideas that crowded my mind vanished and the twisted thoughts dissolved.
Water never dies, lives forever, reincarnated in rain, in bubbling streams, in fountains and waterfalls, in lazy streams, in swirling and sulky rivers.
A mountain stream is a chord made up of many notes that spreads in stereo along the path of an attentive listener. It is a form that escapes, that shapes and cannot be grasped.
The stone does not allow itself to be captured in the plots of language.
The stone believes in spells and good luck.
A divinity, life, nothingness.
A stone takes his shape from his fall.
A clear and ephemeral color transpires from the gray.
A deviation in the balance of resonant silence.
Sedimentation.
A silent accumulation of beats.
What was there before time and what will remain when time is gone.
Art after art disappears… ect.
In any case, this whole thing is nothing more than an excuse to make the rounds off.
When I was a child… someone enlightened suggested to me that everything has sound, even a dry sponge. Here she is.
I think that no one but me can hear it, but I hear it more and more distinctly, with the ear made more sensitive by the exercise (although in reality it is almost everywhere the same noise…). It doesn't even get louder... I realize it when without eavesdropping, making only a little effort of concentration, I guess the breath of a sound rather than "hearing" a sound...
However, it is nothing.
Memories are divine images, since memory is not subject to the ordinary laws of time and space.
"... and immediately he threw another stone, which while it was still in flight was so entranced by the melody of the voice, such was the song of Orpheus, a poet from Thrace, that it fell before his feet as if to apologize for having dared such folly".
Eleonora Pellegrini legge:
From the hall, today, come the dialogues of a movie on TV:
"If I were you, Jim, I wouldn’t do that!"
After this sentence, there was a dog’s whine, long, true, perfect in its parabola, closing in the air like a big pain. Then I had the feeling I heard a plane, but instead it was silence, and I was very happy about that. The park is full of a silence made of noises. If you put your ear on the bark of a tree and you stay still for a while, at the end you hear a noise. Maybe it depends on us, but I prefer to think that it’s the tree. In that silence there were some weird bangs, which disturbed the soundscapes around me; I didn’t want to hear them, I closed the window but they went on. I felt like going mad I woudn’t want to hear useless sounds, I would like to choose them during the day. And so the voices, the words, so many words that I shouldn’t listen to. But you cannot avoid them. You can’t do anything but endure them. As you endure the sea waves when you float on your back.
Perché mi dici queste cose? Potrei non capirti.
Sei un uomo debole, come me.
In fondo a me piace il golf, il tennis, le macchine, i parties… tutto.
Ho cancellato, sono tutte sciocchezze. Ma perché la mia non è una vocazione irresistibile!
Stefano De Ponti (Milano, 1980) ha all’attivo diverse esperienze con istituzioni artistiche internazionali e un nutrito numero di pubblicazioni. I suoi lavori in ambito teatrale e le tante collaborazioni con artisti visivi, hanno giocato un ruolo determinante nella costruzione di una visione poetica trasversale, incline ad attivare processi di scambio e di ibridazione tra tecniche, linguaggi e diversi livelli percettivi.
