Each day is a whole year. ( (( ((( () ))) )) ), 2022

1 - 15, Each day is a whole year. ( (( ((( () ))) )) ), installation view, Gelateria Sogni di Ghiaccio, Bologna, IT, 2022. Ph: Mattia Pajè
16, Each day is a whole year. ( (( ((( () ))) )) ), exhibition text, 2022
17, 18, Each day is a whole year. ( (( ((( () ))) )) ), zine, text and photos by Silvia Hell, layout by Mattia Pajè, 2022

Site-specific & time-based installation, variable dimensions, loop, 2022
Comprising two videos:
Each day is a whole year. ( (( ((( () ))) )) ) Lato A, 27’14”, HD video, colour, stereo sound
Each day is a whole year. ( (( ((( () ))) )) ) Lato B, 28’30”, HD video, colour, stereo sound

TAD Residency 2022: Marta Cuscunà, Silvia Hell, Laura Pante.

1 - 18, TAD Residency 2022: Marta Cuscunà, Silvia Hell, Laura Pante. Monastero del Carmine, Bergamo. Courtesy the artists, Contemporary Locus, FDE, TTB. Ph. Mario Albergati - Contemporary Locus

Marta Cuscunà – Silvia Hell – Laura Pante
1–10 July 2022
Monastero del Carmine, Via Colleoni 21, Bergamo Alta
Public Studio Visit: Friday 8 July 2022, 7 pm, Monastero del Carmine

In 2022, Contemporary Locus, TTB and FDE staged the fifth edition of the TAD Residency, an activity supporting artists with a view to experimentation and research through processes of the exchanging, relating and the sharing of experiences.

TAD Residency is a residency project that foresees the summoning and cohabitation of artists from the fields of theatre, visual arts and dance. The project originated in Bergamo from the collaboration between Contemporary Locus, Teatro tascabile di Bergamo (TTB) and Festival Danza Estate (FDE). The aim of the residency is the free experimentation of trans-disciplinary practices that the invited artists may share in the Monastero del Carmine, transformed into a large co-working space especially for the occasion. No other demands are placed on the artists during the residency period.
Moments of everyday life, activities and actions make up the TAD Residency logbook through texts, images and videos, uploaded onto the residency’s diary, unfolding on social media.

Pasternak or the sound of footsteps on the floorboards, 2022

1, 2, Paolino Dalla Porta & Silvia Hell
Pasternak or the sound of footsteps on the floorboards, 2022
Binaural recording for footsteps and solo double bass, 3’11”
Silvia Hell, footsteps, Paolino Dalla Porta, solo double bass.
Recording and mixing by Stefano Cattaneo, Galleria Milano via Manin/via Turati, Milan.

Pasternak or the sound of footsteps on the floorboards, 2022
site-specific sound installation

The title brings together the interventions of Paolino Dalla Porta and Silvia Hell, while the conjugation ‘or’ evokes its own meaning simultaneously: before or after, the alternative, opposition, equivalence, dissolving in the listening process, of the here and now.

Pasternak or the sound of footsteps on the floorboards is a homage to a historical place, the Galleria Milano, which is at the same time passage, archive and future.

Here. Between not-yet and no-more
The last site-specific exhibition in the historical spaces of Galleria Milano
Opening period: from Tuesday the 10th of May to the 30th of June 2022

Yes, it is all true. After almost sixty years of activity, fifty of which spent in via Manin/via Turati, Galleria Milano is forced to leave its space.

The site-specific group exhibition Here. Between not-yet and no-more stems from the need to reflect on a landmark for the Milanese art world and more, a place that has seen a prestigious history pass by and where many personalities that revolutionized the artistic language of those years have met. This is a collective moment not a definitive farewell, rather a goodbye with eyes on the future.

The exhibition Here. Between not-yet and no-more, is conceived to honor the space with works by about forty artists who have been invited to dialogue with the Gallery’s space, in the present but also in virtue of the memory of what has been: between not-yet and no-more. It is now, the instant in between, the ever-present moment, precarious and fragile because it is in constant transformation, the starting point from which we can have a special look at the past and at the future to come. The frescoed ceiling, the sound of footsteps on the floorboards, the handles, the Art Nouveau details, the shelves, the exhibition halls, the two workspaces and the many details of the space are revised by the artists’ sharp and watchful view, as well as the living reminder of the past, the memory of Carla and the persistent smell of cigarettes.

The exhibition Here. Between not-yet and no-more [IT]

This Side, 2022

1 - 3, This Side, 2022, assemblage – vinyl, brush, calculator roll, wrought iron, tarbouka, paper, tack, 39 x 45 x 30 cm

Thanks to Antonio Giuranna, Gianluca d’Inca Levis & the Sex Pistols – The Great Rock ´n´ Roll Swindle, Metropolis Due – Milan, Silvia Listorti & Torrente Boite – Borca di Cadore, Villa 171 – Ex Villaggio Eni, Progettoborca.

How to play the record:
Take the paper and, while holding it curved in one hand, place the stylus connected to the paper onto the record; with the other hand, turn the vinyl clockwise by rotating the brush.

“The stylus as a compass. Compass: a word that may be broken down: COM–PASS.
com / meaning with / co or con meaning with [...] with you – I pass over, exceed or even yield, but you, you stand beside me.
With you – in one gesture I listen and in another I look. I am subtly present, I cannot do otherwise but be equally together (in the same pace) as you give – I give myself as a testimony that, like every relationship, passes through (the other); it is the logic of appearance and representation. This is a place from which music is generated and takes up the time of a presentation.
It seems to say: I don’t deny it; far from it, the importance of being side by side, of co-presence and com-position or com-parison [?] or – com-participation [?].” Silvia Listorti

1, Each day is a whole year. ( (( ((( () ))) )) ) Lato A, 27’14”, HD video, colour, stereo sound; Each day is a whole year. ( (( ((( () ))) )) ) Lato B, 28’30”, HD video, colour, stereo sound, 2022 [extract]

The International Space Station (ISS) travels at an altitude of 402 km above Earth. It circles the globe every 93 minutes at a speed of about 27,500 km/h. This means that the ISS sees about sixteen sunrises and sunsets every twenty-four man-hours. On board, this clarification is used to indicate that the convention does not refer to the reality of the sixteen sunrises that astronauts actually experience, but rather is the mental coupling of a time as understood elsewhere. This displaced counting, viewing time as understood elsewhere, is the primary and fundamental convention on which we also shape all understanding of the video content.

Surfing fascicles of light, video projections potentially travel forward into eternity, projecting themselves as time lightyears before even as time-imagery. And when their content crashes against a surface, this ends up taking on formations shaped by both source and surface, linked as they are by the Luciferian bond. In this sense, my shadow is the direct outcome of the impact (in direction, time and space) of the sun’s nuclear fusion on my body: an anti-video.

Silvia Hell’s videos may thus be said to be anti-videos of each other, projected for mutual frontal benefit, as if they were watching each other. The rest of us view from the side, and no other frontal positions may be adopted without obscuring them. Each day is a whole year is the transverse position of time, the oblique stance compared to the projectors, the head constantly oscillating between the chrono-nominal and the chrono-logical like a pendulum.

If each day is a whole year, events are grouped and condensed, narrated in density and under pressure, sometimes one at the expense of the other, or each to the sound of the other. It is the events we occupy and encounter that become the means by which we understand our place in the world.

It is one crowded with volcanoes, birds and walls, Naples and Miami, pseudoscientists in the rain, an attempt to rap Heraclitus, the fifteen or so languages that inhabited Etel Adnan, the Earthrise, storms of a few pixels, skewed orthogonality, clouds mixed with habits, and chameleons guarding the origin of the carmine red in their throats.

“Each day is a whole year [...].
On this night, every night. All the oceans in this brain.” 1
There is room for everything and everything recognises its place. There is no need to fret.

Bianca Schröder

1 Etel Adnan, archive of the exhibition Etel Adnan & Simone Fattal. Working Together, Fondazione Antonio Dalle Nogare, Bolzano, 2022.

1, 2, 3, Gazing, studying, or looking at, 10’, HD video, colour, stereo sound, 2022. TAD Residency 2022: Marta Cuscunà, Silvia Hell, Laura Pante. Monastero del Carmine, Bergamo.
2, TAD Residency 2022: Marta Cuscunà, Silvia Hell, Laura Pante. Monastero del Carmine, Bergamo. Courtesy the artists, Contemporary Locus, FDE, TTB. Video: Elena Pachner Sarno