Amazoom

White vinyl, hand-numbered edition of 150 copies.

AMAZOOM proposes to the listener two hypotheses of landscape reincarnation, two translations, two strict, entropic protocols of imagination.
“What can’t be expressed in color in the dark, in the jungle night becomes a concert. The decibel race in the blackness of the Amazon forest leaves no escape: without earplugs, sleeping is decidedly impossible. It’s a sonic vertigo, a primordial voice that envelops and captivates. The only antidote that I could think of, partly to try to resist despair, but perhaps even more to immerse myself in the song of that teeming life, was to try to describe its voices, its tones, its nuances. So, I turned on my computer and I tried to transcribe every sound that passed through me, becoming a stenographer in service of that excessive concert.” For this record Trevisani performed his text score, creating hundreds of scattered sounds, overlapping and coexisting, until they jammed into a jungle for a screen (Side A). Then, linking each to a key on his PC keyboard, he typed the text -or rather, he played it – turning his laptop into an improbable but perfectly exact musical instrument, a ramshackle noise machine for a domestic wild nature taking shape around, within, and above his desk: keyboard forest (Side B).

Luca Trevisani is a multidisciplinary artist whose works have been exhibited in museums and institutions throughout the world. In addition to awards and shows in major art centres and museums, he has published several books, one record, and directed the science-fiction documentary film Glaucocamaleo (2012). He has written texts and essays on the works of other artists. He teaches at IUAV in Venice, at the Free University of Bolzano, and at NABA in Milan. His research ranges between sculpture and video, and crosses borderline disciplines such as performing arts, graphics, design, experimental cinema and architecture, in a perpetual magnetic and mutant condition. In his works the historical characteristics of sculpture are questioned or even subverted, in an incessant investigation of matter and its narratives. Trevisani’s research is that of an explorer: a freethinker who studies the most diverse and eclectic forms of plastic language with curiosity – but also with detachment – acting on them from the inside although never aspiring to possess them definitively, instead seeking to reveal (and, if possible, to modify) their microphysics. Above all, conserving absolute passion for the practical and social utility of his work and for the great questions that it cultivates: perhaps the real significance of someone who conducts artistic research with authority.