di Daniela Fantechi

Dal 25 aprile al 5 maggio Oscillation, il festival organizzato da q-02 – workspace di produzione, diffusione artistica e residenze – occupa per dieci giorni spazi diversi di Bruxelles, attorno al quartiere di Molenbeek. Il programma propone numerosi artisti, tra cui Peter Ablinger, Jennifer Walshe, Beatriz Ferreyra, Annette Vande Gorne, David Toop, e moltissimi altri. Dieci giorni di concerti, performance, passeggiate sonore, workshop e installazioni site-specific. Tra le proposte, tutte eccezionalmente interessanti, troviamo quella di Musique Hydromantique, lavoro in cui l’artista Tomoko Sauvage crea con pochi gesti misurati un rituale sonoro estremamente suggestivo, utilizzando idrofoni immersi in ciotole di porcellana riempite d’aqua come una sorta di sintetizzatore naturale; un concerto dedicato a Eliane Radigue dove il percussionista Enrico Malatesta presenta il nuovo Occam XXVI (2019) per due piatti suonati con arco e tamburo a cornice, mentre il compositore Emmanuel Holterbach si occupa della diffusione della trilogia Adnos (composta tra il 1973 e il 1980); e la presentazione di Torse, un film di Charles Atlas del 1977 che documenta Remainder, il lavoro che Marianne Amacher compose per Torse, coreografia dello stesso anno di Merce Cunningham.

Come spiega il programma del festival, “Oscillation is a project and festival circling around various aspects of the nature of sound, with a special curiosity about its capacity for creating and sharing space, its propensity to occupy the zones in-between spaces, positions, events, discourses, etc: a betweening space. Sound travels, hops borders, passes through walls. It is endlessly participative in that we share it all the time, often unwittingly. It entangles itself in the necessarily messy gaps between us. Sound offers a framework for thinking the in-between as a space that not only needs boundaries in order to exist (what is a space without limits to define it?) but whose very presence both creates and parodies the fixities of those boundaries. A discourse of inbetween-ness cannot be fixed but is always made up of a great many tentative constructions and holdings in place. Part of sound’s particularity is its unflinching sitedness; hearing is always hearing in place. And yet, sound inevitably permeates in-between spaces: the spaces between walls, between the ‘external’ room and the ‘internal’ ear, between languages, across divisions between producer and listener; artist and audience. Sound plays an increasing role in relation to our senses and our connections to others. The artists, thinkers, and practitioners that make up this festival come from a diverse range of positions, formal backgrounds, and traditions. They split across continents, generations, and languages. But in the space that opens up between these different positions, there is a common practice of thinking with and through sound. Of using sound as a tool to occupy and energise the space in between: not absence but material, not lack but medium.”

Per il programma completo cliccare qui.