#the wrong biennale

[cr2796v]

My CR2796V 3d model is currently exhibiting at the Exphygit Corpse Pavilion as part of The Wrong Biennale. You can find it in the "Tales From The Torn Pages" section. Thank you to everyone who has supported me since the begining.

[evartology]

Recent data on the Biennale Arte 2024 and the sad figures from The Art Market Report confirm my long-held suspicions.

The biennale's algorithm is old, wrong for the AI era, and broken.

#BiennaleArte2024

[glitchartistscollective]

As some of you may or may not be aware this years Wrong Biennale is now open, check out the links and look at the work !

[rockislandadultreads]

Book Recommendations: Reflective and Thoughtful Reads

Activities of Daily Living by Lisa Hsiao Chen

How do we take stock of a life - by what means, and by what measure? This is the question that preoccupies Alice, a Taiwanese immigrant in her late thirties. In the off-hours from her day job, Alice struggles to create a project about the enigmatic downtown performance artist Tehching Hsieh and his monumental, yearlong 1980s performance pieces. Meanwhile, she becomes the caretaker for her aging stepfather, a Vietnam vet whose dream of making traditional Chinese furniture dissolved in alcoholism and dementia.

As Alice roots deeper into Hsieh’s radical use of time - in one piece, the artist confined himself to a cell for a year; in the next, he punched a time clock every hour, on the hour, for a year - and his mysterious disappearance from the art world, her project starts metabolizing events from her own life. She wanders from subway rides to street protests, loses touch with a friend, and tenderly observes her father’s slow decline.

Moving between present-day and 1980s New York City, with detours to Silicon Valley and the Venice Biennale, this vivid debut announces Lisa Hsiao Chen as an audacious new talent. Activities of Daily Living is a lucid, intimate examination of the creative life and the passage of time.

The Poet’s House by Jean Thompson

Carla is stuck. In her twenties and working for a landscaper, she’s been told she’s on the wrong path by everyone - from her mom, who wants her to work at the hospital, to her boyfriend, who is dropping not-so-subtle hints that she should be doing something that matters.

­Then she is hired for a job at the home of Viridian, a lauded and lovely aging poet who introduces Carla to an eccentric circle of writers. At first she is perplexed by their predilection for reciting lines in conversation, the stories of their many liaisons, their endless wine-soaked nights. Soon, though, she becomes enamored with this entire world: with Viridian, whose reputation has been defined by her infamous affair with a male poet, Mathias; with Viridian’s circle; and especially with the power of words, the “ache and hunger that can both be awakened and soothed by a poem,” a hunger that Carla feels sharply. When a fight emerges over a vital cache of poems that Mathias wrote about Viridian, Carla gets drawn in. But how much will she sacrifice for a group that may or may not see her as one of their own?

A delightfully funny look at the art world - sometimes petty, sometimes transactional, sometimes transformative - The Poet’s House is also a refreshingly candid story of finding one’s way, with words as our lantern in the dark.

Don’t Cry for Me by Daniel Black 

As Jacob lies dying, he begins to write a letter to his only son, Isaac. They have not met or spoken in many years, and there are things that Isaac must know. Stories about his ancestral legacy in rural Arkansas that extend back to slavery. Secrets from Jacob's tumultuous relationship with Isaac's mother and the shame he carries from the dissolution of their family. Tragedies that informed Jacob's role as a father and his reaction to Isaac's being gay.

But most of all, Jacob must share with Isaac the unspoken truths that reside in his heart. He must give voice to the trauma that Isaac has inherited. And he must create a space for the two to find peace.

With piercing insight and profound empathy, acclaimed author Daniel Black illuminates the lived experiences of Black fathers and queer sons, offering an authentic and ultimately hopeful portrait of reckoning and reconciliation. Spare as it is sweeping, poetic as it is compulsively readable, Don't Cry for Me is a monumental novel about one family grappling with love's hard edges and the unexpected places where hope and healing take flight.

Three Rooms by Jo Hamya 

“A woman must have money and a room of one’s own.” So said Virginia Woolf in her classic A Room of One’s Own, but in this scrupulously observed, gorgeously wrought debut novel, Jo Hamya pushes that adage powerfully into the twenty-first century, to a generation of people living in rented rooms. What a woman needs now is an apartment of her own, the ultimate mark of financial stability, unattainable for many.

Set in one year, Three Rooms follows a young woman as she moves from a rented room at Oxford, where she’s working as a research assistant; to a stranger’s sofa, all she can afford as a copyediting temp at a society magazine; to her childhood home, where she’s been forced to return, jobless, even a room of her own out of reach. As politics shift to nationalism, the streets fill with protestors, and news drip-feeds into her phone, she struggles to live a meaningful life on her own terms, unsure if she’ll ever be able to afford to do so.

[junichiroishii]

A problem with self-reference in logic

Epimenides was a Cretan who made one immortal statement: "All Cretans are liars."

The "DO NOT ART" tries to prohibit ART under the name of ART. The project reveals a problem with self-reference in logic, such as the Epimenides paradox.

"DO NOT ART", although we can speculate what the phrase meant to say, since Art is not a verb this English phrase is an incorrect sentence. While pretending as a public sign, this wrong English sentence prohibits ART or act of ART. However, even the message bans art, the action itself paradoxically casts a question to viewers, such as, where is the category of art, what exactly banned by the name of ART?

DO NOT ART © 2019 Jun'ichiro ISHII

Paradox / Inconsistency / Contradiction

アートの名の下に、すべてのアート行為を禁止します

Question : 「アート」の名において指示されたものに従うか？従う場合、本作品周辺におけるすべての「アート」行為を禁ずる。またこれに従わない場合、その理由とは何か？

Reference : ・韓非子 / 難一篇 /「矛盾」・・・楚の国の「どんな盾も突き通す矛」と「どんな矛も防ぐ盾」

・エピメニデス・パラドックス（Epimenides paradox）・・・「クレタ人はみなうそつきである」

・自己言及のパラドックス ex:1 ) 次の文は真である。前の文は偽である。 ex:2 ) 次の文は偽である。次の文は偽である。最初の文は偽である。

DO NOT ART © 2019 Jun'ichiro ISHII

Exhibition : 2024.04.12 - 05.12. "DO NOT ART" KIKA gallery, Kyoto, Japan 2021.10.13 - 11.26. "Limitless Limits - Larnaca Biennale 2021" Larnaca, Cyprus 2019.08.11 - 08.14. "TODAY IS YESTERDAY'S TOMORROW" HIGURE 17-15 cas, Tokyo, Japan 2019.07.05 - 07.18. "SPURT" Galerie Aube, Kyoto University of Art and Design, Kyoto, Japan

Special thanks : Yasufumi Hanada (JP)

[abwwia]

YIN-JU CHEN, Somewhere Beyond Right and Wrong, There is a Garden. I Will Meet You There

2023, 16 min., HD, single channel, stereo

Premire in the 14th Shanghai Biennale: Cosmos Cinema

[sound-art-text]

Sound at the 57th Venice Biennale (2017)

Guide to sonic works in the 57th edition of this international art exhibition. Titled VIVA ARTE VIVA and curated by Christine Macel, chief curator of Paris's Centre Pompidou, La Biennale di Venezia is open from May-November 2017.

Couldn't help but put a few other non sound things in here too…

This years Golden Lion winner is the German pavilion - artist Anne Imhof has choreographed an epic performance, between five and seven hours in length and ever changing, where you walk on a glass floor with millennials trapped underneath. During my visit they threw themselves against the floor, dejectedly hosed down the glass separating us from the performers, one escaped and climbed the imposing fence outside… An extremely bleak view.

The French pavilion for the Venice Biennale has been transformed by Xavier Veilhan and the pavilion’s curators, Christian Marclay and Lionel Bovier, into a musical space in which professional musicians from all over the world work throughout the duration of the exhibition. The producer shuffled around inside the fishbowl studio whilst I was there - not much sound coming out and it all felt a bit insanely privileged - massive money music studio being a far cry from what most of us work with, and who knows where the results of what the musicians have created will go.

Lots of cool things in the Korean pavilion. My fav was a small room full of clocks, all set at different speeds. Voices that seem to come from behind the clocks tell you how long it takes each person, name and profession inscribed on the clock, to earn a meal.

Not entirely sure what was happening in the Russian pavilion - dark, light, space, projections, subterranean lair with an app that makes naked figures appear… Lable says 'Baudrillard's silent majority, intimidated by power and terrorists'. I can hear eerie voices and mechanical hiss.

Radical act in the Canadian pavilion - most of roof gone and water spurting everywhere. Got wet listening to lovely sounds of water chiming and enjoyed watching visitors hop around to avoid new streams.

In the Greek pavilion - how much of this is real? I'll never know. Strange videos of scientists with ethics under question. Guided round a maze by eerie recorded voices. Either I'm a genius or it wasn't a real maze though as walked straight through it, no wrong turns.

Arsenale

Drumming the water - reviving the tradition with locals of the Atrato river, a work by Marcos Avila Forero. Really nice thoughtful film, about how we lose our traditions and history through globalisation. Showed a seemly futile struggle as locals attempt to revive tradition of drumming with water with varying degrees of managing to keep in time between bursts of annoyance and disheartenment. Nice community spirit came through.

Moves like an insect, slowly creeping across the wall. A music box plays the wallpaper, transforming visual motifs into sounds. A work by a Anri Sala.

Audio cassettes made for women by religious leaders, to tell them how they should act. Visually impactful - the array of tapes is fitted to the wall on bread dishes to spell out poignant words in Arabic - 'temptation', 'forbidden', 'struggle'. Saudi artist Maha Malluh says that she doesn't create new objects, believing that the world has already produced enough, many of which are discarded.

The city plays itself. No humans required as Nevin Aladag leaves instruments to create sound by themselves. Artist dealing with re-appropriation of public space and sound creation, setting the city up to become the voice of it's absent inhabitants.

Always interested in broken pianos and all they symbolise… Small man with axe destroys piano amongst other things in Liliana Porter's work.

Enjoyed this activist performance work - shouting messages across the city about public vs private space, home, and freedom to wander. Pavilion transformed into a moving stage. In defence of nomadism - collective actions in the Spanish pavilion.

In town

Murmuri - a work by Eva Ariza in the Andorra pavillion.

Investigating the boom of the 'charity single' as a symbol of globalisation of pop music and rise of 'neo liberalist aspirations'.' Songs for Disaster Relief sound lounge by Samson Young in the Hong Kong pavilion.

Five artists collaborate through image, film, sculpture and sound to question the future of Mongolia.

Deeply moving work - my favourite of the Biennale. Artist subjects himself to limits of endurance through 'one year performances'. In the first, he clocks on to a worker's time clock every hour, day and night, for one year. In the second, he takes no shelter - spending a year outdoors. Heartbreaking film accompanying the relics of these performances showing his treatment whilst sleeping outdoors, including as police force him indoors whilst under arrest. I shed a tear.

[cr2796v]

My CR2796V 3d model is currently exhibiting at the Exphygit Corpse Pavilion as part of The Wrong Biennale. You can find it in the "Tales From The Torn Pages" section. Thank you to everyone who has supported me since the begining.

[girlboccaccio]

Ok, I searched a little and indeed there is not much information about him. His name was actually Tito Giacinto Fuga, from google scholar I found that he exponed at Ca' Pesaro during the years 1926-1929-1934-1936-1937-1939, and during 1946 he still lived in Venice according to this guide. Ca' Pesaro is now the museum of modern art in Venice, but at the start of the 20th century thanks to the last owner of the palace, Duchess Felicita Bevilacqua La Masa, it became not only a museum to host some of the artworks from the Biennale, like Gustav Klimt's Judith II/Salomè, but also a hub for young avantgarde artists (and their name by which they were known was "Capesarini", literally "the ones from Ca' Pesaro", from casa Pesaro = house Pesaro, the name was the surname of the Palace original owners).

I'm pretty sure that the Tito Giacinto Fuga mentioned in the two google docs is the same of the painting because the other few famous artworks from him are about Venice (lol). The other informations of this artwork are from this document on Issuu (pages 8-9), were all the artworks of the private deposit of the Micky Wolfson + other collections are listed. The true name is actually The Mitchell Wolfson Jr. Collection and is split between Miami and Genoa, the Genoese part is hosted in the Wolfsoniana Anchive at the Ducal Palace of Genoa. By the same document we can read that Fuga's artwork was restored recently by Oberto Study in Genoa.

We live in the Mystery that we have Violated was exposed four years ago in this exibition, and the link that @myfavoritedemons is a part of an article exactly about this event. The catalogue is on my list of books to buy, but this list is long and catalogues are sometimes expensive 😔, so maybe next week I can try to search the book in some library and maybe I'll find new info!

In any case, all the ppl that in the tags linked this artwork to the Terror maybe aren't wrong, and maybe isn't that strange that it was created exatly at the start of the 30s, because two years before, in May-June 1928, took place a disastrous event linked to the ploral exploration that shocked Italy, Europe and the World to its core: the crash of the Airship Italia, with a total of 17 dead between crew and rescuers.

I don't know if Fuga was inspired by this event, but the combination of dates and its subject, plus the fact that the artist was italian, could be a clue 乁( ͡° ͜ʖ ͡°)ㄏ

Giacinto Fuga - We live in the Mystery that we have Violated (1930)

[adityafh]

Television.

A group show curated by David Quiles Guilló, together with 192 curators, for the 6th edition of The Wrong Biennale, happening between November 1st 2o23 and March 31st, 2o24, showcasing an extended international selection of audiovisual works. The Wrong Biennale https://thewrong.org/ The Wrong Television https://thewrong.tv/

[n-u-k-e]

Inauguración en Casa Gurín, Toluca, México.

The wrong Biennale número 6

[6v-theblog]

Zeitguised

The Wrong Biennale 6

Opening Titles

Painting with Light

Sound: Michael Fakesch

[sectumsemprae]

Four years ago I lost for the second time the train from Venice to Milan after going to the Venice biennale with my best friend because I thought the ferry was going to have the same speed as the subway in Milan so of course I was gonna make it to the station, what could go wrong

(I almost lost the second train I booked on the ferry while bawling my eyes out because im a dumb bitch I took it 5min before its departure)

[antonia-gergely]

EVA EXHIBITION REVIEW !!!

soft 5/10

Let me preface by mentioning that we went on a Tuesday. That brought the score down a lot. About five venues were open (One of them contained a single poster). But I'm going to focus mainly on the Limerick City Gallery of Art.

It was a slight disappointment, frankly. There was amazing art on display within, some really striking stuff, and kudos to each artist whose work was chosen for display, but it seemed like it was set up a day before opening, and didn't exactly strike me as an international-level event.

Photos were tacked up like posters in a teenage bedroom. Shadows seeped out from underneath, distracting any viewer from the immersive experience that could have been achieved. It's Lala Meredith-Vula's Haystacks series that I'm mainly referring to. I was enamoured by the work, it reminded me of the haystacks I would see driving through the Romanian countryside on my holidays, it had enough imagery to allow a viewer to add narrative, and question the events within. And yet, all I could see were the jarring buckled shadows underneath the asymmetrically displayed images.

Seóidín O'Sullivan's ongoing research project, Crex crex, crex crex, crex..., really bewildered me and a few others I was with. Beautiful old coins embossed with the corncrake showed her inspiration on a wall whereby a viewer would have their back to the large main piece, rendering everything quite disjointed and unconnected, and harder to picture interacting. Her research images seemed haphazardly tacked onto MDF board screwed into the walls. I left quite confused and underwhelmed by the unfinished nature of the display.

Her beautiful textile work, illustrated with deep blue corncrake postage stamps, draped over a hay-bale whose scent would transport any viewer out to the Irish springtime countryside, was labelled and described, but across the room. I went over to the work and examined it, only to have to pace back and see what it was actually called. This was a repeated issue. The gallery had its artwork labels in weird places that weren't conducive to someone's movement through the space. I would walk in to a room, have to turn back, read a label around the corner, look back at the art, and figure out if I was reading the right thing. It gets really annoying when all you want to do is understand an artist's idea and concept and be submerged in the work. It felt as though the technicians didn't know much about gallery operations at all.

Orla Barry's video installation was in the middle of the first main atrium of the gallery. I don't know anyone who would actively enjoy standing in everyone's way with a pair of headphones, staring at words scrolling across a screen. I tried to watch the video, but couldn't focus for the discomfort of standing in the middle of a gallery pathway.

Rosalind Fowler's video was more intimately set up, more comfortable to sit and watch in private, but the sound was neglected. A tiny speaker accompanied the projector showing the work. It was almost like the piece was afraid to intrude on the gallery environment and adjoining café. This could have been intentional, but I didn't find it very effective. One of my favourite things at the Venice Biennale was the booming, unapologetic noise that you would here from whatever room awaited you, and the excitement of discovering where it was coming from. Not the case here. In fact, I almost missed the video completely. I was just curious enough to look around the inconspicuous curtain and find a quiet video rolling therein.

Unfortunately, I did not have time to go out to UL, where the work might have had a more thought-out display, but for such a small biennial, I don't understand why the work would be spread out around the town. It's not the Venice Biennale and I think it's wrong for it to try to be, at least physically. It felt like each individual venue provided nothing much at all, other than Rachel Fallon and Alice Maher's monumental tapestry (whose display I quite enjoyed), whereas having the works in fewer, larger spaces would have had a much more immersive, lasting impact.

It's just such a shame because I know it could have been wonderful. The art itself was fantastic - again, from what I could see of the few open venues - but the execution of the exhibitions was less than impressive, and brought my experience down significantly.

[forevermidicom]

📂 new media art.

Since 2011, forevermidi.com is provider of multimedia experiences through global distribution of software art, audio and video. forevermidi.com is committed to liberate the machine’s most authentic, unlearned creativity at any given level of technology, doing so by investigating, inductively or not, glitches and errors (not considered as disruptive agents but rather as generative events) through analog and digital realms (postmediality), virtual realities (cyberspace, metaverse), and real life (postinternet) environments. The main scope of this research is to discover if there are possibilities for Art to exist as a self-sustained entity, detached from creators’ ego and paradigms, transcending any objectification.

“In an ever-decaying reality, only in errors true perfection will be found”. The Admin

Selected Exhibitions:

• VideoNetArt, at Lost Gallery, Los Angeles (2012).

• Black Box, at Galleria Quadrini, Brescia (2015).

• Aperipic, open air installation, Mantova (2016).

• Dj Set at Le French Touch Club, Mantova (2017).

• Participations at various shows including at the Koonsthalle collective exhibition and at the Wrong Biennale n°3, online (2019-2020).

• Are gifs still a thing? Gif artwork for unstable.media, online (2020, curated by Karina Pálosi). 

• Participation at biennale.NO, online (2020, curated by noemata).

• Participation at Art Homepage Fair, online (2021, curated by exonemo and arebyte).

• Virtual Gallery: personal exhibition in VR and WebVR featuring Artificial Intelligence generated Glitch Art sculptures, metaverse + online (2021, curated and produced by Nigel Fogden).

https://rhizome.org/community/50997/ (article and introduction)

https://vrmuseum.neocities.org/

• Participation at /‘fu:bar/ Expo with Virtual Gallery at Institut français de Croatie, Zagreb and online (2021, various curators).

https://fubar.space/ 

• Participation at One-Off Moving Image Festival with a video art piece titled “achievement”, online (2021, curated by Bjørn Magnhildøen).

• Participation at the Wrong Biennale n°5 with 2 video artworks: “achievement” featured in the One-Off Pavilion and “Where Am I?”, featured in the ESSENCE/ABSENCE Pavilion, and on Second Wave, VR gallery hosted on New Art City, online + metaverse (2021 - 2022, curated respectively by noemata and Matteo Campulla). 

• Participation at the Miami Art Week through Loading Festival with an interactive 3D artwork (VR / AR) titled “Leave the screen and enjoy Miami!”, South Beach Miami (11/30/‘21 - 12/5/‘21, curated by Carolina Kleine Samson).

• Participation with the nft project DeeperLab at the 1st Sewer Nation DAO, Rome (2/18/’22, curated by Vandalo).

• Participation with the nft collection Acid Math at an nft shop at Sagamore Motel, Miami (3/17/’22, curated by Carolina Kleine Samson).

• Participation with the nft project DeeperLab at NFT Garbology at L’Avant Galerie Vossen, Paris (3/26/’22 - 5/14/’22, curated by Robness).

• Personal exhibition at Contemporary Cluster with the transmedial project Where Am I?, Rome (1/27/‘23 - 3/11/‘23).

https://www.exibart.com/evento-arte/where-am-i/ (press release in Italian)

https://rhizome.org/community/52628/ (press release in english)

• Participation at World Art Dubai through Infinite QR Room with this nft from the Acid Math collection, Dubai World Trade Centre, Dubai (3/9/’23 - 3/12/’23, curated by Carolina Kleine Samson).

• Participation at A.I. Internet Yami-Ichi, with this 3D nft from Opensea, Hodler Gallery, Miami (3/12/’23, curated by Fabiola Larios).

• Participation at not.gli.tc/h with 2 AI Glitch Art artworks: this video and Virtual Gallery, Chicago and online (4/1/‘23, curated by Rosa Menkman).

• Participation at Chroma Art Film Festival, hosted by Superblue Museum, with “Being Ron”, AI short movie, Miami (8/12/‘23, curated by Rainbow Oasiiis).

• Participation at biennale.NO, online (2020, curated by noemata).

News and current design: https://www.instagram.com/forevermidi_com/

Admin: https://twitter.com/rudypaganini

Email: forevermidi@gmail.com

Telephone: +1 (305) 980-8987

Miami, FL

[lamilanomagazine]

EXTRALISHOW: una storia punk ai confini della balera

EXTRALISHOW: una storia punk ai confini della balera. Milano, EXTRALISHOW - UNA STORIA PUNK AI CONFINI DELLA BALERA è il nuovo spettacolo teatrale, ideato da Elisabetta Sgarbi in collaborazione con Eugenio Lio, che coinvolge il cantautore e polistrumentista MIRCO MARIANI con i suoi Extraliscio, il frontman dei Tre Allegri Ragazzi Morti e noto fumettista DAVIDE TOFFOLO e l’attore e scrittore fuori dagli schemi LEO MANTOVANI. Dopo essere stato presentato in anteprima lo scorso anno a “linus – Festival del fumetto” e dopo aver registrato il tutto esaurito al debutto il 1° marzo a Ferrara nel prestigioso Teatro Comunale, arriva a grande richiesta a MILANO con 6 date al Teatro Menotti dal 26 settembre all’1 ottobre. Il 26 e il 27 settembre salirà sul palco un ospite speciale, il grande attore e regista conosciuto e acclamato in tutta Italia ANTONIO REZZA, che con Flavia Mastrella dal 1987 ha realizzato quattordici opere teatrali, cinque film lungometraggi, una serie sterminata di corto e medio metraggi. Flavia Mastrella e Antonio Rezza si occupano di comunicazione involontaria. Hanno ricevuto il Premio Alinovi per l’arte interdisciplinare, il Premio Hystrio, il Premio Ubu, il Premio Napoli, l’attestato di Unicità nella Cultura a Montecitorio, il Premio Ermete Novelli e nel 2018 viene loro assegnato dalla Biennale Teatro di Venezia Il leone d’oro alla carriera. Nel 2019 La Milanesiana li premia con la Rosa d’oro. Le loro opere sono state presentate a Parigi, Madrid, Mosca, Shanghai e New York. Collaborano da diversi anni con TSI La Fabbrica dell’Attore - Teatro Vascello di Roma. Extralishow è uno spettacolo totale, che unisce musica, parole e immagini. La musica dal vivo è ben rappresentata dalla dinamicità degli Extraliscio, guidati dalla voce dolcissima di Mirco Mariani, band che ha fatto ballare Sanremo quando nessuno poteva ancora ballare, nuovamente sul palco con Davide Toffolo e la sua voce graffiante. Uno show che vanta un repertorio musicale che va da Casadei a Gabriella Ferri, da “Marina”, a “La tatuata bella”, a “Bianca Luce Nera”, passando per la musica klezmer, il rock, il punk, il techno liscio, con Mirco Mariani che si alterna tra chitarre scordate e imprevedibili combinazioni sui tasti del pianoforte. Sormontano la scena i disegni live di Davide Toffolo, uno dei più amati disegnatori del panorama italiano e internazionale, che si alterna tra lo scrittoio e il microfono. Infine c’è Leo Mantovani, pronto a sabotare lo spettacolo con divertenti pezzi di storia della musica Folk. Da martedì 26 settembre a sabato 30 settembre lo spettacolo si terrà alle ore 20.00. Domenica 1 ottobre alle ore 16.30. Le prevendite sono disponibili al seguente link: www.vivaticket.com/it/ticket/extralishow-una-storia-punk-ai-confini-della-balera/211996 Prodotto da Betty Wrong di Elisabetta Sgarbi. In collaborazione con IMARTS. Alla Regia Betty Wrong e Luca Volpatti. Cast artistico Extralishow: Mirco Mariani (pianoforte, chitarra Noise, voce); Enrico Milli (mellotron, synth, tromba, flicorno, fisarmonica); Niccolò Scalabrin (basso); Gaetano Alfonsi (batteria). Con la partecipazione di Davide Toffolo (disegni live e voce). Con le incursioni di Leo Mantovani. Cast tecnico Extralishow: Mattia Dallara (fonico), Claudio Tappi (luci). www.extraliscio.it - www.instagram.com/extraliscio/?hl=it www.facebook.com/Extraliscio - www.youtube.com/channel/UCjr2oAvSQ15OhiVi-dyyYZQ  ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article