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Teresa Doblinger & Filipa Botelho play Pierluigi Billone
11/05/2018 -

Pierluigi Billone: 1+1=1

One drop plus another drop makes one larger drop, not two! This is how the «nutcase» Domenico in Andrei Tarkovsky‘s film «Nostalghia» explains the inscription 1+1=1 on the wall of his house, pouring two drops of oil into his hand.

In 1+1=1 by Pierluigi Billone scored for two bass clarinets every musical instrument achieves perfection by augmenting its characteristics with an entire legacy of physical perceptions and abilities that came about through dealing with the material, the sonic conception and the culture of playing and listening that spawned it. Te first physical contact with the instrument is therefore already preconditioned, but remains open. Although the primary characteristics of the instrument remain unchanged, the act of playing is in fact like a sensitive organism. Gradually the instrument also begins to exist in another manner, it is examined from new perspectives, and a stream of experience ensues that transforms its possibilities, even creating new dimensions (sound,
rhythm, body etc.). The variations that become part of instrumental technique through each individual discovery are traces
(some clearer than others) of the human and cultural experiences that produced them, and they vibrate in the act of listening as particularity, identity and origin; they are active sonic layers, living matter with an intelligence of its own.

In his work, Pierluigi Billone  has long tended towards such an approach of listening to the particularity and the differences. He is looking for possible points of contact and connections between dimensions that nonetheless retain their autonomy. With the help of this vigilance (and an almost archaeological sensitivity) he enters instrumental spaces yet unknown to him. Here, any detail can constitute an illuminating difference, a remarkable connection, the foundation for a edifice, the identification of an earlier experience, a missing piece of a puzzle, a notable peculiarity, or an unrepeatable state that crosses the boundaries of notation; in this sense, none of its aspects are unimportant. His work is based on the conception and representation of the instrument with its multidimensional sound-world as a defined space within which I can move rationally. If, however, he does not allow himself to be trapped within that representation, he can hear the boundaries of his own model and remain open
to the development of sound in all its facets. This, however, involves the introduction of further abilities (archaeologists must also learn to dig first…). Trough the performer‘s concrete actions, the practice and intelligence of the sound are inscribed upon the body and the space in the ritual and impersonal dimension of communal listening. Sound, body, listening, space and community cannot be separated.

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