PIVIO

PIVIO
presenta PYCNOLEPTIC - Progetto video-musicale di Pivio
Visual di Matteo Malatesta
Chitarrista live Andrea Maddalone

A videoart project in which sounds and images blend, eliciting a vague disorientation in the viewer, but also of recognition, touching on the visions, obsessions, fears, dreams, and nightmares of Pivio himself.

Pivio has started a longstanding artistic partnership in the music for film sector with Aldo De Scalzi in the early 80’s. He became internationally known with Ferzan Ozpetek’s Steam: The Turkish Bath (Hamam). He composed over 150 scores for film and TV, including Manetti Bros’ Song of Napoli and the musical Ammore e malavita, garnering awards virtually everywhere. Pivio released over one hundred records.
www.pivioworks.com - www.pivioealdodescalzi.com
Andrea Maddalone began playing guitar for artists such as Le Orme, Gino Paoli, Mick Fleetwood, and many more in the early 90’s. In 2016, he released the acoustic album Nylon Strings, and in 2020 the electric record Evil. As a guitarist and arranger, he made a vast number of scores for films, commercials, and TV fiction. www.andreamaddalone.it

a cura di Anthony Ettorre, Vittorio Ondedei, Giuliano Antinori

Visual tribalism, ritual ethnicism, sensory trips, emotional instability, archival deviance. Just a few of the senses that characterize this new run of THE WALL OF SOUND. Visions interwoven with sound to be enjoyed in what has become a little sanctuary of outright experimentation: Palazzo Gradari. Four events across the board offered by musicians and filmmakers in search of a new gaze and new perceptions. The image breaks out of the screen almost as a novel clandestine, settling on a 16th-century wall to share its mutation, its new form, with the audience. THE WALL OF SOUND 2023 is pyrotechnics of encounters between pictures and sounds. First of all, the Wall and the welcoming Gra’. And, electric power too! Bricks and energy: 4 evenings of lightnings that will dart around the spectators just arrived at the beginning of a dark night after the festival screenings have ended. They will find music entwining with film images, thus changing the destinies of both: the eye gets confused and finds out that it can see more than usual, while the ear gets startled when sound vibrates between the moving images and sets free from all that it used to be. Nothing can be done about it: if you land in the Gra’ courtyard with the right heartbeat, then fireworks – even in slo-mo – are inevitable.
And then you’ll see glitter everywhere, remembering Mirko.