Michele Satta viognier

Nils Petter Molvaer trumpet, beat programming, soundscapes

Petulia Mattioli video


Last year, when tasked with writing the introductory notes to the first Semetipsum event, I described that event not as a generic happening, but as very specific one - one whose final realisation would critically depend on the feelings and perceptions specifically shared by all those who would choose to attend the performance on that very night and embrace it as a commonly held project.

Music, Wine and Imagery found a specific, yet non-definitive form that night. As the Sangiovese wine of wine producer Michele Satta improves over time, so the recording of that performance by Harold Budd and Eraldo Bernocchi sounds ever different when listened to with renewed interest or when remisced upon and so does the visual imagery and artwork employed that night by visual artist Petulia Mattioli.

This evolution and maturation are driven not so much by the artists themselves, but by the public and by time itself, which symbolise us in relation to our “being in the world”. The happening at Michele Satta’s cellars was (and will be) but the beginning of a process through time which calls upon us to actively participate rather than simply be passive witnesses.

As a matter of fact and from an etimological standpoint, Semetipsum presents itself as an event which every one should feel happening for him/herself. Carlo Diano writes “As id cuique evenit, the event is always hic et nunc.” There is no event but for in the exact place and at exact time where/when I become aware of it”.

Nils Petter Molvaer’s presence at the second iteration of Semetipsum was therefore not an option, rather a necessity, a conditio sine qua non. Starting from the notion of “Being There”, and from the concept of bodily presence, visual artist Petulia Mattioli build and dissolved away images whose intentionality was to nearly negate the physicality of bodies by revealing their transparency, permeability and fluidity.

The emanation of sound by NPM’s trumpet, the continuity of imagery and colour, the brilliance of Michele Satta’s Viognier shared an aspiration towards absolute transparency, even when colours and music were vering toward the darker part of the spectrum. It is not the quantity but the quality of light and of the bodies it penetrates that determines transparency, a near supernatural quality of both physical and immaterial bodies allowing them to be same yet different when transversed by the warm and vital force of light.

                                                                                Marco Pierini


Marco Pierini (Siena 1966) ha conseguito la laurea e il dottorato di ricerca in Estetica all’Università degli Studi di Siena. È stato direttore, a partire dal 2002, del Centro Arte Contemporanea di Siena, prima ospitato al Palazzo delle Papesse e dal giugno 2008 al Santa Maria della Scala col nome di SMS Contemporanea.

Dirige dal giugno 2010 la Galleria Civica di Modena.

Ha pubblicato numerosi contributi su argomenti d’arte, d’estetica e di musica, tra i quali più di recente:

Jaume Plensa. Fiumi e cenere, catalogo della mostra, a cura di Marco Pierini, Gli Ori, Siena-Prato 2004; Flesh for Fantasy, catalogo della mostra, a cura di Lorenzo Fusi e Marco Pierini, con un racconto di Aldo Nove, Gli Ori, Prato 2004; Good Vibrations. Le arti visive e il Rock, Giunti, Firenze-Milano 2006; Numerica, catalogo della mostra, a cura di Marco Pierini, Silvana Editoriale, Cinisello Balsamo 2007; Gordon Matta-Clark, catalogo della mostra, a cura di Lorenzo Fusi e Marco Pierini, Silvana Editoriale, Cinisello Balsamo 2008; Francesca Woodman, catalogo della mostra, a cura di Marco Pierini, testi di Rossella Caruso, Isabel Tejeda e Lorenzo Fusi, Silvana Editoriale, Cinisello Balsamo 2009; Pop Numbers, in Matematica e cultura 2010, atti del convegno (Venezia, Auditorium Santa Margherita, Università Ca’ Foscari, 27-29 marzo 2009), a cura di Michele Emmer, Springer, Milano 2010;  L’angelo sterminatore, in Enzo Gentile, Jimi santo subito! Il mito Hendrix attraverso immagini, parole e musica, Shake edizioni, Milano 2010.

Tiene la rubrica Miti su “GQ” e collabora regolarmente ai mensili “Arte” e “Insound”.