Date: 02/05/2020
Time: 21:00
Artist: Giovanni Lami
Title: 44°25'02.0"N 12°11'28.6"E lockdown
Description: This is a time-specific set. I started to record what happens during days stuck in my house, started making a sort of sound diary of this forced lockdown, working on something minimal, to exorcise it somehow too. Recording gestures, dialogues from films and series, the sound outside in the night and so on, slightly processing it on my devices. These are windows, opened and then closed on fragments of my daily life during these dark times.
Type: Live to Tape
Bio: Giovanni Lami is a sound artist and musician working within soundscape and sound-ecology boundaries since 2009/10. His qualifications range from photography and visual arts to a degree in food technology, through to a wide range of professional experience. All this has sharpened his analytical view, which for some time he has focussed on the potential of sound. His research is related with the study of resonant surfaces, degradation processes, the limit/interferences of magnetic tape and each device used to record or reproduce a sound.
The second edition of Oscillation festival will take place as a 3-day radio marathon over the first weekend in May, in resonance with the International Day of Workers. In the absence of project funding, the format of radio offered us a possibility to nonetheless continue the festival and to use it as a framework to reflect on the notion of value in art and cultural organisation beyond the monetary. Radio has always been a favourite tool of autonomous, DIY and experimental practice; offering low-cost means of reaching people, diverse forms of expression, and new tools for thinking community, audience, and access. We want this year’s festival to be practical experiment in balancing responsible collaboration with an urgency to make space for things to happen.
Under the additional strain of collective lock-down measures, the festival has again adapted and will now take place entirely online. Formats were rethought where necessary as e.g. live streams, concerts-on-tape, focus radio-features, workshops via video-conference, and experiments in synchronised remote performance. In the necessary absence of a live-local audience, attention again folds out to a public dispersed in space. These new conditions created the possibility to draw on friends and contributors from other places, to see a wider spread of autonomous practices in dialogue with those in Brussels. In this way the festival can stay with the initial plan to be an open laboratory for near-continuous broadcast; a reflection on communities of producers and listeners, on making do, doing-it-ourselves, doing-it-with-others, and using what is at hand.