Giulia Vismara

Kitchen studio II, performance multimediale (25’00”)

Giulia Vismara, concept and live electronics

Laura Ulisse, performer





Giulia Vismara

Kitchen studio II, performance multimediale (25’00”)

Giulia Vismara, concept and live electronics

Laura Ulisse, performer





Late afternoon.

In the kitchen.

A woman: flip through the pages of a newspaper, listening to the radio, prepare a cup of tea.

And all around the room vibrates.

The sounds take their space,


She swings,

The sounds bounce off.

In the meantime a chorus of voices creeps over...


program notes

Kitchen explores through sounds and gestures out of time solitude and frustration of any woman. Two female figures gathered at the same table tell the story of this alienation.

With kitchen‘s typical objects the performer makes actions that create sound and noises. In real time they are captured, amplified, filtered and modified.

The score develops in a crescendo from amplified sounds of concrete nature to a more structured composition. More and more all round the room vibrates and sounds expand and the woman swings with “her noise” in the space.

The performance ends with a strong action that breaks this flow/atmosphere and represent a gesture of protest suggesting to the audience to dream the liberation of her body.





Maggie Jackson

University of Chester

Presentation “On the road”




program notes


On the road/'They fly from me who sometime did me seek'. (Thomas Wyatt, C16 poet)

The initial impetus for this work came from the habitual loss of pieces of clothing whilst travelling, when examined, this loss could be construed as forgetfulness, negligence, or an absence of care. The wrapping and transporting of one's belongings brought to mind the bundles on sticks used by itinerant travellers in fairy tales and common in the European tradition. In one such 'rags to riches' story, Dick Whittington goes to London to seek his forrune and is subsequently made Lord Mayor. Such bundles of clothing are suggestive of a paucity of possessions, a need to travel light, a need to move on and an impermanence. The darker side of this imagery reminds us of refugees: the dispossessed. There can be a magic in venturing into the unknown which is tempered by possible hazards and disasters I always travel light. All forms of communication may be viewed as interdependent since they are governed by the senses. The title of this piece is a subversion of the title of the novel by Jack Kerouac and therefore has certain resonances. The use of literary and poetic references when explaining or describing artwork attaches to the work itself and can become an integral part of it. I see the combination of text and image as strengthening the work and enriching it, rather than taking away from the visual. Image and text may be totally interdependent in a work, or one may predominate over another, but they are an essential part of the way in which the body and mind receive and communicate with the world. As art histrian Derek Wilson notes 'Art is not what a man does; it is what he is.'






Bill Viola

I Do Not Know What It Is I Am Like

89 min, video, color, sound


replica/other screenings:


  6th JULY - 11.00 AM

  7th JULY - 11.00 AM

  8th JULY - 11.00 AM

  9th JULY - 11.00 AM

10th JULY - 11.00 AM

11th JULY - 11.00 AM



program notes


Bill Viola - I Do Not Know What It Is I Am Like

One of the major works in video, I Do Not Know What It Is I Am Like envisions an epic quest for transcendence and self-knowledge. Viola describes this work as a "personal investigation of the inner states and connections to animal consciousness we all carry within." The title is taken from the Rig-Veda, the Sanskrit spiritual text that defines a procession through birth, consciousness, primordial existence, intuition, knowledge, rational thought, and faith, to arrive at a transcendent reality "beyond the laws of physics." Unfolding in powerful, emblematic images and allegorical passages, Viola articulates a dramatic quest for self-knowledge through an awareness of the Other, embodied here by a shamanistic vision of animal consciousness. Structured in five parts, Il Corpo Scuro (The Dark Body), The Language of the Birds,The Night of Sense, Stunned by the Drum, and The Living Flame, the tape envisions a metaphysical journey of rational and intuitive thought, from the natural world to spiritual rituals. Viola's poetic investigation of subject and object, observing and being observed, and his search for knowledge of the self is encapsulated in an indelible visual metaphor: an image of the artist reflected in the pupil of an owl's eye. Additional Camera/Production Assistance/Still Photographer: Kira Perov. Engineering: Tom Piglin. Produced in association with the American Film Institute, Los Angeles; The Contemporary Art Television (CAT) Fund, a project of the WGBH New Television Workshop, The Institute of Contemporary Art, Boston; and ZDF, Mainz, West Germany.