TAM TUUMB! Cento anni di arte e rumori – Istituto Svizzero di Roma
«In antiquity, life was nothing but silence. Noise was really not born before the 19th century, with the advent of machinery. Today noise reigns supreme over human sensibility.» (Luigi Russolo, L’Arte dei Rumori, March 1913)
Inside the Syncope project, a musical program in five events, dedicated to contemporary artistic experiences which break the circle of harmony and tradition, on Sunday 24th of March Rome’s Istituto Svizzero presents the TAM TUUMB! Project, a series of performances on the centenary of Luigi Russolo’s “The Art of Noise” publishing.
In 1913 the Futurist Luigi Russolo published a manifesto, “The Art of Noise”. For Russolo, to fully reject the harmonic and melodic codes that still governed the 18th-century musical tradition, the time had come to «break at all cost from this restrictive circle of pure sounds and conquer the infinite variety of noise-sounds» whose power, according to the artist, could «bring us back to life». His insight pointed to many later developments in 20th-century music, making him become the godfather and demiurge of entire currents: from musique concrète to industrial music, all the way to the contemporary forms of noise music.
In particular, from the start of the 2000s on, the most heretical circuits of underground music have gone through a genuine noise Renaissance, whose impact has been unprecedented in the balances of the new sounds produced outside academic musical circles, including electronic, rock or generically experimental music. And Russolo’s name is still there, revered and honored by a generation of musicians that has taken the Art of Noise to its extreme consequences: reinterpreting, reinventing and – why not – betraying it. One hundred years after the publication of one of the most influential manifestos in the history of music, TAM TUUMB! offers a chance to take stock of a lively phenomenon, one with an unpredictable impact on the musical research of the new millennium, while paying tribute to one of the most revolutionary, visionary and farsighted forefathers of the Italian avant-garde, widely acclaimed abroad though curiously overlooked in his native land.
The idea is to go back to the points listed by Russolo himself, in his manifesto dated 1913, and to see how musicians of the two latest generations have reinterpreted them, achieving surprising solutions and results that go beyond mere sound effects, in a return to the authentic spirit of the Italian Futurist: that of «enrich[ing] men with a new voluptuousness they did not suspect existed».
According to Russolo, «the art of noises must not be limited to a mere imitative reproduction. The art of noises will extract its main emotive power from the special acoustic pleasure that the inspired artist will obtain in combining noises».
Russolo identified a long series of families of noises, in a sonic spectrum that ranged from «roars, bellows, claps» to «animal and human voices». In these families, we have found – in our opinion – the descendents that seem most original, interesting or influential in historical terms, alternating already historic cases with others in a state of becoming, and crossing experiences from different places, backgrounds and times.
AARON DILLOWAY (Usa)
CUT HANDS (Uk)
TEHO TEARDO (Ita)
ANDY GUHL (Ch)
DAVE PHILLIPS (Ch)
ANTOINE CHESSEX (Ch)
DIE SCHACHTEL (Ita)
a cura di Valerio Mattioli e Francesco de Figueiredo
Istituto Svizzero – TAM TUUMB!
Via Liguria 20 – March 24, h16.30 -24