Installation view “La Volpe salta veloce sul ghiro marrone ek gioca con lo zaino blu” exhibition at Studio Brigantino. Photo by Matteo Pasin

La Volpe

Salta sul ghiro marrone ek gioca con lo zaino blu

This impossibly titled exhibition is not even an exhibition but a palimpsest made up of paintings, objects, moving structures, sounds, sculptures and a variety of events and activities taking place throughout the month of April. Words, letters, languages and the human body, as well as gloves and Q-tips, rhinos and silkscreen prints, are just some of the ingredients of a combinatorial and musical game.

Lorenzo D’Anteo, *Alfabeto ad Olio*. Courtesy the artist.

The pangram appears as a symphony of letters, a dance of consonants and vowels flowing in the harmony of that funny combinatorial system we call the alphabet. Like an enchanting magician, the writer of a heteroliteral pangram captures each letter once and only once, to compose a complete and accomplished sentence. Playing all the keys of the piano but with a single touch: here is the savory and skillful art of combination. Linguistic enigma, precision of the limit, combinatorial labyrinth, abyss of graphemes, score without repetition or duplication, gateway to the hidden dimensions of the universe of signs, symbols, drawing and writing. Because then, to tell the truth, writing is different from speaking, and drawing a letter turns it into an image or a sign or a symbol-imagine what happens when we start painting it. So what did a medieval scribe actually do when copying a holy book? Did he write, paint, draw? Good question, John Lawrence Luke and Valentina answer in their own way, with their scrabble of letters gone mad, arranging them like cheerleaders with liturgical catafalques, portraying them with Gothic splendor, belching them with the voice of the last white rhinoceros that was. Glossolalia carries us away, cutting the air with ceremonial knives. And so: Mr. Jock, TV quiz PhD, bags few lynx. Jinxed wizards pluck ivy from the big quilt. Sphinx of black quartz, judge my vow. Here, in Milan, @brigantinos.

(Pencil, Paint, Charcoal) by Luca Trevisani, Edizioni Brigantino e Lorenzo D’Anteo). Courtesy the artists.

Installation view *La Volpe salta veloce sul ghiro marrone ek gioca con lo zaino blu* exhibition at Studio Brigantino. Photo by Matteo Pasin.

This is an exhibition by Luca Trevisani, Lorenzo D’Anteo, and Edizioni Brigantino, crossed by Michele Galluzzo, Michela De Mattei, Francesca Flora, Alessandro Bosetti, and Renato Grieco.

Michele Galluzzo is a graphic designer and researcher. After a bachelor’s degree in Communication Sciences from the University of Salento and a master’s degree from ISIA Urbino, in 2018 he completed a doctorate in Design Sciences at the Iuav University of Venice. From 2014 to 2017 he was a research assistant and graphic designer at the AIAP Graphic Design Historical Archive in Milan. Since 2018 he has been part of the editorial staff of the international graphic design magazine Progetto Grafico. Since fall 2019 he has been curating the Instagram page @logo_irl and in 2020 founded—together with Franziska Weitgruber—the design/research duo Fantasia Type. Since October 2020 he is RTD at UniBZ in Bolzano/Bozen.

Michela De Mattei is currently based in Milan. She works across different formats and media, developing fictional scenarios and unusual ecosystems in which animal-human affairs are often hijacked by technologies to question stan dards of authority and control, while addressing issues of animal agency and the changing dynamics of communication systems. Recent exhibitions include: Retrofuturo, MACRO Rome (2024); Dive-In, Porto Design Biennale, Porto (2023); Performative 02, MAXXI L’Aquila (2022); Aquaria – The illusion of a boxed sea, curated by Angela Rui, MAAT museum, Lisbon (2021); Hypermaremma, Terme di Vulci (2021); The Dreamfish, Alserkal Avenue, Dubai (2019); Blushing, solo show at Belmacz, London (2019); The Shape of a Circle in the Mind of a Fish, Part 1: Language, curated by Filipa Ra mos and Lucia Pietroiusti, Serpentines Galleries/ZSL London Zoo (2018); Estée Lauder series, Italian Cultural Institute, London (2018); Inscape Rooms, Istituto Svizzero, Roma (2017).

Extract from *Brief Inventory of Animal Resistance, VOL.1* by Michela De Mattei. Courtesy the artist.

Francesca Flora is a writer and performer deploying poetic language through her voice—and its machinic alterations—to explore the affective and semiotic potentialities of poetic language, in relation to political dynamics embedded in the everyday.

Scores of the Francesca Flora’s performance at Studio Brigantino. April 14th, 2024.

Alessandro Bosetti, born in Milan and living in Marseille, is a composer and sound artist with a particular interest in the musicality of language and in the voice, conceived as an autonomous object and an instrument of expression. His works enacts a dialogue among language, voice, and sound within complex tonal and formal constructions, often crossed by oblique irony. Bosetti creates surprising pieces and devices questioning aesthetic categories and listening postures.

Renato Grieco – kNN is a composer, musician from Naples, active in the field of musique concrète, acousmatic, sound art and radio-art. He is engaged on the themes of listening, recording, archiving, storytelling, voice and speech. He questions space through production, recording, organization and dissemination of sounds. After starting out as a double bass player, he ventured into composing music for fixed media, under the moniker kNN. Immersing himself in active research, he experimented with the arrangement of one or more sound sources in a habitable context; he imagined and designed objects or spaces for listening, both physical and virtual; he has spoken inside some objects; he listened through other objects. His work has very little to do with the so-called ‘acoustic ecology’. He believes in absolute waste and carnival. He tries not to align with the hordes that place sound practices among scientific or purely theoretical disciplines. He considers listening as a cognitive activity per se, affecting the intellect and the body with its semantics, humor and tragic nature.

Kohlhaas is a label active since late 2013 that has developed an interest in sound research declined through a multitude of styles, forms and languages. The catalog ranges from radical improvisation to electroacoustics, from sound poetry to contemporary composition.

Xong is the name of the collection produced by Xing, a vinyl-only record label of works by both Italian and international personalities linked to the variegated worlds of live performativity. The collection explores a geography of artists who present this sonic field as a platform to expand their staged worlds. “The space of the record” is given focus and ampli fies their poetics as both a sonic and physical phenomenon. Xong is a unique project that draws out divergent under standings of the performative and live arts, beyond genre and intersecting between different practices. Xong collects a series of original creations that constitute an expanded program. Each physical record is a numbered edition on white vinyl hosting the solidification of the gesture. A wave upon wave, a series of “Music-Non-Music” to actualize both the artists and listeners imagination.

10/4/24, 6–9pm
Opening

12/4/24, 7:30–9pm
Talk by Michele Galluzzo w/ Rinoceronte Bianco

14/4/24, 11:30am–3pm
Book launch Brief Inventory of Animal Resistance, VOL.1
by Michela De Mattei with a performance by Francesca Flora at 12:30am

22/4/24, 7–9pm
FasFari (LP) on Xong & Portraits de Voix (CD) on Kohlhaas records launch and live by Alessandro Bosetti
Sound reading of Renato Grieco

Luca Trevisani is a visual artist. His multidisciplinary practice has been exhibited internationally in museums and insti tutions. Trevisani has published several books including The effort took its tools (Argobooks 2008), Luca Trevisani (Sil vana Editoriale 2009), The art of Folding for young and old (Cura Books 2012), Water Ikebana (Humboldt Books, 2014), Grand Hotel et des Palmes (Nero, 2015), Via Roma 398. Palermo (Humboldt Books, 2018). Trevisani research ranges between sculpture and video, and crosses borderline disciplines such as performing arts, graphics, design, experimen tal 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.

Lorenzo D’Anteo is a visual artist. His research starts from a deep reflection on craft and craft practice, understood as the recovery of obsolete and disused working techniques, where the boundaries between craft, design and art con stantly hybridize and erase. Central to his research is the reference to work practices and linguistic canons that belong to and deeply reflect the roots of a classical identity, where history and memory constitute the natural substratum from which a practice based on “making” comes to life. A making understood as work and discipline of a creative act in which material and conceptual aspects are never separated. In 2011 he is among the founders of the Btomic venue in La Spe zia, an alternative space that has hosted concerts, exhibitions, performances and theatrical productions. He made the illustrations for The eyes can see what the mouth can not say, a six-monthly magazine founded by Jacopo Benassi and Federico Pepe born to tell and document the activities of Btomic.

Edizioni Brigantino was born in 2018 in Milan through the encounter between Valentina Lucchetti and Canedicoda. Together they experiment with modes of design and spatial organization for both domestic or installation environments. In their investigative research and practice they nurture an intuitive approach that is helpful to elaborate design logic and realization processes that aim at autonomy and know-how.