Within POST ELETTRONICA
A project curated by Valentina Gensini and Letizia Renzini

In tribute to John Cage, the project POST ELETTRONICA investigates territories of “post-electronic” experimentation revealing Cage’s contemporary inheritance and presenting artists who share a dramatic and gestural use of new technologies. Hybrid works that combine music, video, performance, sculpture, sound, noise become vocabularies of a composite language in which the management of advanced software is combined with the artifact in an attempt to dissolve the conceptual approach towards the involvement of the viewer.

Nicolas Collins is a trombonist and electronic musician but he is also a pioneer of the practice of Circuit Bending.
The hardware hacking or Circuit Bending is the practice of recycling printed circuit boards and old electronic equipment for a critical and interpretative use, which is always different from the use for which these objects were created. It is a way to investigate and experiment on the threshold between sound and noise, where gesture and medium become an integral part of the work.
The performance at Fabbrica Europa foresees the meeting with Florentine musicians and artists, becoming a real “happening” where live video images and sounds will told us this new and fascinating world.

New York born Nicolas Collins studied composition with Alvin Lucier at Wesleyan University, worked for many years with David Tudor, and collaborated with numerous soloist and ensembles around the world.
He lived most of the 1990s in Europe, where he was Visiting Artistic Director of Stichting STEIM (Amsterdam), and a DAAD composer-in-residence in Berlin.
Since 1997 he has been editor-in-chief of the Leonardo Music Journal, and since 1999 a Professor in the Department of Sound at the School of the Art Institute of Chicago. The second edition of his book, Handmade Electronic Music – The Art of Hardware Hacking, was published by Routledge in 2009. Collins has the distinction of having played at both CBGBs and the Concertgebouw.