Listening to these sounds was an experience bordering oniric and lysergic. A clear demonstration of how sounds stimulate the production of images in a synergistic relationship between hearing and sight. Listening to the whole track is a short journey into our natural element: water, from the source of the river to the largest port in Europe, from the amniotic fluid to the sea, ontogenesis and philogeny at the same time.

Les Expansives — Episode 1 — Ecoféminisme

Ce podcast a pour but d’offrir une plateforme de réflexions et d’échanges autour de thématiques féministes et de rendre intelligibles des sujets d’actualité qui touchent directement plus de la moitié de la population suisse.
Ensemble avec l’organisation de la Grève Féministe du 14 juin et le groupe de travail  «Culture et Médias» dont nous faisons partie, nous revendiquons une reconnaissance du travail des femmes dans la culture - un accès aux postes à responsabilité les plus prestigieux et les mieux rémunérés et que les institutions culturelles et médiatiques prennent en compte les discriminations de genre lorsqu’elles attribuent des postes, délivrent des mandats, remettent des prix et versent des salaires. 
Nous revendiquons également le droit à une représentativité plurielle et positive qui valorise et abolisse les représentations stéréotypées de « la femme » , tant dans les médias que dans les productions culturelles.

C’est un appel au changement des paradigmes. 
Archiver le présent, en dresser un portrait collectif. 
D’un mouvement hors du commun que nous avons commencé à écrire ensemble, nous femmes de la Grève.

Une émergence a grondé et grandit et on a voulu y plonger. Qui sommes-nous ? Et que pouvons nous faire ensemble pour avancer vers le mieux ? Comment adresser les questions d’égalité, de statuts, d’échelle sociale ? Comment faire face aux paradigmes qui nous répugnent, comment trouver la force pour dire, comment se toucher, comment toucher la vie et comment ressentir vraiment ?

Ce podcast comme terrain, nous partons à la rencontre de femmes qui, par leur savoir, nous expose une réalité et nous la font comprendre. 

Avec pour première thématique l’éco-féminisme nous nous penchons sur un thème couramment rabâché, usé, presque comme un sol appauvri, alors qu’il a tellement à dire au-delà du simple terme. En Suisse, la grève du climat s’est développée en parallèle de la grève féministe. En parallèle? Pas sûr... 

Ce premier épisode vous est proposé par Maelle Gross et Julia Widmann, avec l’aide de Mathilda Olmi, et le précieux soutien du Canton de Vaud, de la Ville de Lausanne et de la Ville de Genève, ainsi que de la Fondation Emilie Gourd qui encourage et développe l’information sur les questions féministes. Le mixage a été réalisé par Clara Alloing. Avec comme participantes : 
Eleni Riga curatrice indépendante 
Françoise Marmy botaniste et spécialiste des plantes sauvages
Colline Grosjean 
Le groupe Alice 
Giada Seghers
Le GT éco féministe de la Grève féministe Vaud
Avec les textes de Rachel Carlson et Mariane Masset

Episode 1 — Ecoféminisme

Alsarah, Nahid - Habibi Safr Mini | السارة - حبيبي سافر مني

Die Antwoord - $o$

“In the middle of the river  we float on our bellies,  halfway between the bottom and the surface.   At night, with the full moon and the clear sky,  we look at the hulls , backlit, they go through us.”

The torse of the Maasgod is one of the few elements that last from the sculpture group that used to be on top of the Delft-Gate realized by the sculptor Josephus Gillis in the 18th century. Destroyed by the bombing of 1940, the remains of the sculpture, since 1995 are part of the Nieuwe Delftse Poort, relized by Cor Kraat. This monument is a cross over of concepts that challenges disciplines and formats: it is a sculpture, a museum, a drawing, a maquette for giants.

Working on the Maasgod, Simona Da Pozzo and Roberto Fiorentini join this Matryoshka, this flow of artists who work in/on the works of others to create new stratifications and stories.

Now the waters that flow through Rotterdam are called "Nieuwe Maas", because the river that feeds them is no longer the Maas but the Rhine.
Starting form this and other suggestions, Simona invited Roberto to look for the voice of the Nieuwe Maas together in the frame of Hacking Monuments research. They worked on the water more as a space of listening than a sound. They focused on water as a memory device: as chemical structure taking a specific shape in base of the events it pass trough, as suggested by the photographic research of Massaru Emoto, and as physic dimension where the same sound travels far for years at nearly at 5000 km per hour.  

Their dialogues and walks led them to draw not only a sound but first of all a position in the listening, resulting in a "listening performance" and an installation in the public space.

The project has been created in the frame ofthe Residency ... at the Waterfront, in the frame of State of the City project, thanks to nctm e l’arte: Artists-in-Residence grant from Nctm Studio Legale.

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SIMONA DA POZZO
bio in the profile

ROBERTO FIORENTINI
Roberto approached classical music at a young age, combining his piano studies with the use of early personal computer software. His artistic production evolved towards contemporary music and, at the age of 17, he won the “Arezzo Wave Contest”, the most important contest for emerging musicians in Italy. This event led to a long-term collaboration with the staff of Arezzo Wave, during which Roberto took on managerial roles in the production of artistic and musical productions. In addition to the albums published with a number of bands, he also started collaborating with the Italian Radio and Television Broadcasting Company, and today has a collection of 800 compositions. His interest in applied arts and technology also led him to the creation of theatrical stage scenography and exhibitions.
He is currently working together with Simona Da Pozzo in activities that explore the possible interactions between the public at large and artworks.

Maasgod Voice

In January 2013, the Nile Project brought together 18 musicians from Uganda, Ethiopia, South Sudan, Sudan, and Egypt to experiment with a collaborative creative process that would last 10 days. Each musician brought 2 songs. In the morning, they taught one another their respective musical languages. in the afternoon, they played musical chairs in duos, trios, and quartets. On the 5th day, they played their songs for one another. The puzzle was all there. But it was time to organize the pieces into one seamless tapestry to perform in Aswan and in Cairo 4 days later. This recording showcases the result of this rich encounter.

15 Guyala

Hacking Monuments is an art practice research by Simona Da Pozzo.
The Maasgod Voice is the result of the collaboration with the musician Roberto Fiorentini.

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SIMONA DA POZZO 
Art-practice based researcher born in Venezuela, Simona lives between Naples and Milan where she’s member of the Ex-Voto (Association for Radical Public Culture) and runs VEGAPUNK space&time.
She has taken part to a number of residencies and collaborative projects in different countries exploring visually and relationally hierarchical and horizontal structures. Her work is time-based and has been influenced by her studies and researches in cinema and performance. 
Her research happens mainly in the public sphere resulting in videos, photos, object, installations and books. Her work has been exhibited throughout Europe, America and in the East, both in underground and institutional frames.

Maasgod Voice

Hacking Monuments

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