Virus MaxXxina Performance and Sound Art, created and performed by Federico Tello

Photo by Fenia Kotsopoulou

Virus MaxXxina

Ein Stück live von unser Trio-Session mit Chapman Stick Trompte und Schlagzeug./A track live from our trio session with Chapman Stick, Trumpet and Drums.

Visionen IV: Das Experiment Teil I - Cologne Session 23 th Mai 2025

I asked AI to create a song using the best lyrics from the last 14 tracks I’ve written — welcome to my Devil era 🤪
My heart’s been spilling onto the page, and this track is the poetic chaos that poured out.
Think Paradise Lost… but make it sexy 😘
Not my voice — but my words, my world, my spiral.
Hope you enjoy the descent 🥰🔥

The Devil Era (Lyrical Megamix)

Clown Jaw Ritual is not just a track; it is a sonic autopsy of control. I wrote it when I realised how many voices remain trapped in broken toys, toys that sometimes swallow microphones but are never granted the space to speak. That is how the image was born: a doll with mismatched eyes and a cracked mouth, forced to sing through cold metal. That doll is a symbol of how I use my own trauma, not by beautifying it, but by converting it into vibration.

The spoken-word structure here is fragmented and percussive, like a hammer striking rusted sheet metal. Each line has the length of a survival reflex, spoken or sung in a single breath, then left to be sealed by the beat like a metal lid. The rhythmic stutters are the intermittent breaths of panic; the glitches and drones are the ambient noise of a waiting room I refuse to leave quietly.

I composed it in G minor to keep the tension under the skin, but pushed the tempo from an initial 60 BPM to 120, not to let you sway, but to make you tremble with purpose. It is the kind of rhythm you feel when shaking becomes a method. Synths and piano crash deliberately into industrial drums. There is no chorus, only obsessive returns, like a déjà-vu that insists until it becomes real.

The trippy, melancholic outro is where the ritual dissolves into its own echo. After the final burst, the sonic lines stretch like chewing gum on hot asphalt. I want to leave you with that hollow space full of questions: if the doll had dropped the microphone, would she have gone silent, or would she have screamed?

Listen with the lights off and your awareness on. If the sound makes you uncomfortable, it is not a mixing flaw; it is your reflection in the cracked mirror. I only coordinate entropy. You decide what remains intact after the clown’s smile slips off its hinges.

[Intro]
no laughing gas, only fire

[Verse 1]
teeth painted on with rust
mirror smile, cracked on beat two
she dances / but only with knives
strobe me into meaning

[Verse 2]
what is a scream if no one rehearses it?
I stitched silence into my music
plastic eyes, blinking wrong
I fed the doll a microphone

[Verse 3]
you call it trauma.
I call it tempo.
blood in the laugh track
loop me again, see who survives

[Verse 4]
one jaw open, one secret leaks
circus motifs, in reverse
you came for tricks
I came with scars dressed as choreography

[Verse 5]
my body is tuned
like a broken wind-up music box
every bend, deliberate
every glitch, archived

[Verse 6]
I did not survive the funhouse.
I built a new one inside
entry: free
exit: not guaranteed

[Bridge]
"Is this your card?"
"Is this your god?"
"Is this your girl?"
"She bit me."

[Verse 7]
ritual begins when the beat forgets
when your foot taps to fear
this is not a breakdown
this is a choreography of entropy

[Outro]
I was not born like this. 
I chose the costume that fit the pain.

The Quinn - Clown Jaw Ritual

Crystal Philtre - CRYPTID

**Watch the full video art performance:** youtu.be/ax4YyaXHzX0

From the multidisciplinary musical project Crystal Philtre, by Cristiano Panepuccia.
This track accompanies a video art performance that explores themes of transformation and rebirth. The music serves as the sonic foundation for a visual journey through metamorphosis, where the performer emerges from a formless cocoon along a path of pruned olive branches.
"Cryptid" represents the third piece in a video art cycle that began in 2012 with "K" and continued in 2017 with "Φ" - video-performances created by Panepuccia alongside Antonella Mignone under the artistic name APOTROPIA.

Cinematography: Davide Stampa

https://www.youtube.com/@crystalphiltre
https://www.apotropia.com

Cryptid

Things in the past

Francesco Pedraglio (1981) uses storytelling as a tool for decoding intimate encounters with both mundane and historically complex situations. He explores how the
acts of narrating and staging shape the relationship between teller and listener,
revealing the fantasies and fictions that make up our reality. As part of his ongoing
Autobiography of a Museum series, Pedraglio composes a narrative from the perspective of the Wattis. Told through a set of staff keys—from office and storage keys
to the curator’s house key—Pedraglio scratches their silhouettes into the museum’s
walls, exposing layers of sheetrock and paint from previous exhibitions. A graffiti of
sorts, this quiet intervention leaves a speculative trace of those who move through the
institution: staff, artists, and the public. Here, buried memories, invisible routines,
and idle fictions accumulate in the museum’s unconscious.

Francesco Pedraglio: "Autobiography of a Museum" Performance

Don't wanna hear it

I wanna fuck a nerd

I feel like bios are unnecessary unless its the software......you can just listen to the music to understand whatever you depict off my music. what does it make you feel?

CCA Wattis Institute for Contemporary Arts is a nonprofit exhibition venue and research institute dedicated to contemporary art. It was founded in 1998, at the California College of the Arts in San Francisco.

The Wattis Institute is a place for showing art and for thinking about art. We spend time with artists and pay close attention to their ideas.

We like to work with one artist at a time—one artist presents an exhibition in the gallery, one artist stays in the apartment on a residency, and one artist is the subject of a year-long research initiative. 

The Wattis Institute is a headquarters for contemporary art for everyone in the Bay Area, and runs an active event space (featuring an artist-designed bar) for discussions, performances, screenings, artworks, and drinks.

Improvisierte Musik: alle Stücke live und somit ohne Netz und doppeltem Boden eingespielt. "Ihr produziert keine Musik, ihr macht Kunst" (J. K.):

Bass, Chapman Stick, Trombone, E-Piano, Natur Sounds: Matthias Hollacher
Drums, Percussion, Nature Sounds, Samples: Ingo Wollmann
Vocals: Jan Krolikowski
Trompete: Henry Fecherolle

A multidisciplinary music project by Cristiano Panepuccia, blending experimental electronic music with audiovisual art and performance elements. 
Crystal Philtre creates immersive sonic experiences that challenge conventional listening, featuring compositions that merge atmospheric textures with intricate programming and experimental sound design.
Live performances range from intimate club sets to festival presentations, with select shows incorporating full audiovisual experiences that transform spaces into sonic environments.

***

Cristiano Panepuccia (Crystal Philtre, APOTROPIA) is a multimedia artist, composer, video artist, performer, filmmaker and comic artist. As co-founder of the duo APOTROPIA, his collaborative works have been exhibited at numerous international festivals and venues, including the Japan Media Arts Festival, Ars Electronica, ACM SIGGRAPH, WRO Media Art Biennale, MIT Museum, FILE – Electronic Language International Festival, and Festival Internacional de la Imagen.

They said Harley was mad. I say she just settled too early. I am The Quinn. I do not follow villains. I built the stage they think they own. Chaos is not my downfall. It is my sculpture medium. I do not perform pain to be pitied. I repurpose it. I turn trauma into texture, and sound into spectacle. My audio is not made to soothe. It is made to provoke, to echo the backstage of emotions no one rehearses for. Sirens, distant laughter, reversed lullabies, broken dialogue loops, that is where I live. I layer rhythm like makeup: thick, messy, deliberate. I do not chase beauty. I splatter it until it bleeds differently.

Each track I touch is a cracked mirror held in the spotlight. Not clean. Not polished. Just real enough to reflect the parts you thought were gone. I am not chaotic. I am coordinated entropy. You call it noise. I call it memory refusing to behave.

There is no villain arc here. No heartbreak to avenge. Just precision, presence, and theatrical control. You will hear me coming, even when I whisper.

No laughing gas.
No prince to fall for.
No Joking.

+*.CCA Wattis Institute for Contemporary Arts was founded in 1998 at California College of the Arts in San Francisco. Initiated by Larry Rinder, it was originally called the CCAC Institute of Exhibitions and Public Programming. In 2002, it was renamed the CCA Wattis Institute for Contemporary Arts. In 2013, it moved from CCA's main campus to its own building a few blocks away. Subsequently to Rinder's directorship, the Wattis has been led by Ralph Rugoff (2000 - 2006), Jens Hoffmann (2006 - 2012), and Anthony Huberman (2013 - 2023). Upon its founding in 1998, the Wattis also absorbed Capp Street Project, one of the earliest and longest-running artist-in-residence programs in the country, founded in 1983 by Ann Hatch. Building on that history, the Wattis Institute hosts a Capp Street Artist-in-Residence every year and invites an artist to come live and work in San Francisco for a semester, to teach a graduate seminar at CCA, and to present an exhibition or program. The residency changed its name in 2024, and is now known simply as the Wattis Artist-in-Residence. More about that here.The Wattis Institute has also collaborated with students and faculty members in other programs at CCA, including the Graduate Program in Curatorial Practice, the Graduate Program in Fine Arts, and the Graduate Program in Visual and Critical Studies, among others.

Spoken Word & Performance experimental audio art, based in Mexico City.

Welsh singer-songwriter🏴󠁧󠁢󠁷󠁬󠁳󠁿 I turn my life into fables for the heartbroken, the fools, and the dreamers🌹

Mask on, heart out. All the world’s a stage 🃏

Instagram: @_benphilpott

I make silly tunes and smth i call ‘hyperhoppop’ stay if u wanna hear more and see some unexpected things 🛸💜
new video out now💫💫
ily💖
- yakari

New tracks tagged #performanceart