#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.

[warningsine]

Africa’s most celebrated dancer and choreographer, Germaine Acogny, turns 80 on 28 May. I have had the privilege of meeting the Senegalese artist, learning from her, and interviewing her as part of my ongoing research into African contemporary dance.

This is a hymn to an African woman who has inspired not only African dancers but a global community of artists to think differently about who they are, their bodies, their skin, and indeed the way they move.

In a continent plagued by legacies of colonisation, racism and patriarchy, Acogny has risen up as a female artist who has defied stereotypes around her Blackness, her femaleness and her long tall body, to become one of the world’s most revered dance makers.

Who is Germaine Acogny?

Born in 1944 in Porto Novo in Benin, Acogny moved with her family and settled in Senegal as a young girl. She is often referred to as Africa’s mother of contemporary dance, because of her long performing, teaching and choreographic career. She has built the legacy of a dance company, Jant-Bi, and her now globally recognised school and dance centre in Toubab Dialaw, Senegal, called École des Sables (Place in the Sand).

As a young girl in Dakar, Acogny attended Catholic school. Feeling alienated from the language, the religion and the colonial rituals, she took refuge in sport. This eventually led to her attending the Simon Siegel School for dance and sport in Paris in 1962. She set out to become a physical training teacher.

Encountering western dance for the first time, and being the only Black (and African) student in her class, she was made to feel that she was not “right” and her shape was “wrong”. Instead of being defeated, Acogny began to invent movements that corresponded to her own body. She told me:

I have taken my flat feet, my big behind and African woman’s hips, my tall west African body, and made this the centre.

A meeting with African American dancer Katherine Dunham, who was trying to establish a dance school in Senegal, was the final impetus for Acogny in her journey to find a dance language that spoke to her. The Germaine Acogny technique is now celebrated as one the first codified systems for training African urban or contemporary dancers.

Acogny has received numerous awards, among them a Golden Lion at the Venice Biennale and a Bessie Award in New York. She has been bestowed with multiple honours from the governments of both Senegal and France.

And she continues to tour the world with her work. While much of the running of her school now rests on her son Patrick Acogny, she also continues to teach and share her dance wisdom globally.

Contribution to contemporary dance

Understanding what Acogny has done for both dance training and performance leads to a reflection on the nature of contemporary dance. Difficult to define, contemporary dance is an open form with the intention to create new dance languages that engage the “contemporary” (the current moment).

In Africa this is a rich interplay between traditional dance forms, European and American modern dance histories and methodologies, and the ongoing search for authentic contemporary African voices that speak to ideas of culture, politics, self and identity.

South African dance writer Adrienne Sichel notes that this definition could further include contemporary dance’s “invention and reinvention of artistic and cultural forms and functions and its ability to disrupt, displace, connect and survive”.

Acogny was one of the first African dance makers to openly disrupt the European norm of a white, rail thin, weightless female dancing body. She actively sought ways to express her own Blackness and her own west African dance rhythms, and indeed her own gendered journey to finding a voice for herself. Her work often reflects on her own history and her embodied understanding that women’s bodies are often the greatest spoils of war, genocide and patriarchy.

Two great works

With her belief that we carry our histories in our bodies, two of Acogny’s dance works in particular stand out.

The first is a collaboration with Japanese dance maker Kota Yamakazi in 2004, with a work called Fagaala (Genocide). It journeys into the horrifying memory of the Rwandan genocide of 1994. This is a dance storytelling that offers a connection between the contemporary Japanese art form of Butoh (often called “the dance of death”) and Acogny’s own unique west African contemporary dance style.

In Fagaala, Acogny worked only with the male Senegalese dancers in her company and asked them to explore what it meant to be female and live through the Rwandan massacres. So, while the dancers were male, the work explored female stories. Male dancers had to physically and emotionally understand – and perform – the consequence of rape and torture, two tactics of the genocide. This means confronting the horror of men and war.

The second work is the deeply personal solo that Acogny created and performed in 2015 at the age of 71. Called Somewhere at the Beginning, this is Acogny’s journey back into her own maternal and paternal histories that criss-cross her dual west African heritages of Benin and Senegal.

She unearths the devastating visceral effects of colonial Christianity, while at the same time connecting with the suppressed power of her grandmother’s Yoruba spirituality. The work is a palimpsest of dance, video, text, and the layering of Black African female histories as she confronts loss and memory. Somewhere at the Beginning is significant not least for its unique feminist decolonial storytelling; it offers the audience the glorious, unprecedented body of an older African matriarch dancing truth to power.

As Acogny turns 80, this is an anthem of praise to the living legacy of a female dance maker who has helped shape Africa’s significant contribution to dance by rethinking bodies, histories and identity itself.

[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 !

[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���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.

[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)

[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.

[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