Giovanna Iorio - Sound Artist (UK)

I am a sound artist and I live in UK. I am the founder of the Poetry Sound Library, an archive that preserves the voices of poets from past and present. I research ways to link poetry to the landscape. My sound walks are in UK and around the world.

Among my projects there is "Voice of Trees, a sound walk to discover the voices of the most important poets from the Poetry Sound Library: monumental trees or parks receive a poet's voice and they become part of an inspiring sound installation.

Website & Info: https://thevoiceoftrees.weebly.com/ https://poetrysoundlibrary.weebly.com/

Le Storie Invisibili nel Giardino Pubblico di Tolfa

Le Storie Invisibili nel Giardino Pubblico di Tolfa

Tolfa, Rome, Italy
LE STORIE INVISIBILI Installazione sonora nel Giardino pubblico di Tolfa Poesie e racconti di Giovanna Iorio Voce narrante Dario Albertini (Storie invisibili) Voce Narrante: Barbara Marchand (La voce degli alberi) Musiche Lucio Lazzaruolo Progettazione e realizzazione: Giovanna Iorio Progetto culturale commissionato dal Comune di Tolfa (luglio 2020) Quindici incantevoli storie invisibili vi aspettano nel cuore verde di Tolfa. Quindici tappe nel Giardino pubblico che si trasforma in un libro da sfogliare immersi nella natura. Le storie invisibili si nascondono tra i rami degli alberi, nei cespugli, sulle panchine, dentro i nidi. Basta tendere l'orecchio e andare a cercarle. "Le storie invisibili non le vede nessuno. Se provi a scriverle spariscono dalla pagina. Se provi a disegnarle diventano solo colore. Certo, direte. Sono invisibili… Eppure le storie che ascolterete esistono da qualche parte. Sono come ragnatele che all’improvviso la luce rende visibili tra i rami di un bosco. Trame leggere. Ogni storia deve essere ascoltata con cura, altrimenti le storie invisibili diventano farfalle e vanno sul primo fiore che passa. Sul cappotto di uno sconosciuto. Tra le trecce di una bambina che ride. LA VOCE DEGLI ALBERI Sedicesima tappa del percorso sonoro nei pressi della panchina letteraria: "Dieci poesie d'amore per un albero". Immagine di copertina di Enrica Corona (Dallo story board inedito de "Le storie invisibili" Orecchio Acerbo- Ars in Fabula 2017) Fotografie di Tomasa Pala
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La voce degli alberi (Villa Borghese, Roma)

La voce degli alberi (Villa Borghese, Roma)

“La Voce degli Alberi” è una installazione sonora internazionale ideata e realizzata da Giovanna Iorio, artista italiana residente a Londra. L’artista semina nell’aria la voce dei poeti del passato e contemporanei, creando un nuovo paesaggio sonoro in cui la memoria e la letteratura si fondono alla Natura. Le voci dei poeti, disseminate nel paesaggio con un sistema di geo localizzazione, appaiono lungo un percorso segnalato su una mappa, e si attivano grazie ad un QRCode camminando tra gli alberi. In questo modo una semplice passeggiata in un parco urbano o nel bosco si trasforma in un’esperienza emozionante e intima. A Roma, per l’installazione “La Voce degli alberi” l’artista ha scelto gli alberi di Villa Borghese. Le poesie si accendono negli splendidi viali alberati dove torna la voce dei più importanti poeti italiani del Novecento dall’Archivio sonoro Poetry Sound Library: Fortini, Pasolini, Rosselli, Luzi, Ungaretti, Montale e tanti altri da scoprire passeggiando. https://poetrysoundlibrary.weebly.com/ L'installazione è permanente e cresce, proprio come un albero, con l’aggiunta di nuove voci di poeti italiani contemporanei e internazionali. “La voce degli alberi” è presente anche nel Regno Unito (Hyde Park, Epping Forest), in Irlanda, in Francia (Nizza, Sète, Parigi, Marsiglia), in Italia (Parco Caffarella a Roma, Bologna, Ravenna, Giardino Comunale di Tolfa, Poesia nell’Aria a Narni ecc.), a New York (Central Park), in Nuova Zelanda e Groenlandia. Per partecipare al progetto o richiedere l’installazione nella propria città accanto ad alberi monumentali giovannaiorio96@gmail.com Sito Web: https://thevoiceoftrees.weebly.com/
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Voice of Trees (Tallahassee Sound Walk, USA)

Voice of Trees (Tallahassee Sound Walk, USA)

Tallahassee, Florida, United States
Through the Voice of Trees - Tallahassee sound walk, you’ll discover local poets who pay homage to Cascades Park, one of the City of Tallahassee’s gems. By following the route on the Echoes app, visitors will hear a selection of original poems read aloud by the poets themselves. Each poem represents a different location within Cascades Park and encourages visitors to discover spots for quiet contemplation. Inspired by the monumental trees and surrounding landscape, these poems serve as a celebration of the unique features of the area. From Smokey Hollow Pond to Centennial Field, visitors can explore the city’s history while enjoying its natural beauty. Included in this sound walk are original poems by local poets Summer Hill Seven, Terri Carrion, Michael Rothenberg, and Virgil Suárez. Voice of Trees - Tallahassee is a collaboration between the Council on Culture & Arts (COCA), 100 Thousand Poets for Change, and the City of Tallahassee Parks, Recreation & Neighborhood Affairs Department. This initiative was made possible in partnership with Italian artist Giovanna Iorio who developed the Voice of Trees project in an effort to preserve the voices of poets and link their work to the landscape. Tallahassee and New York City are the only Voice of Trees locations in the United States. Our city joins a global Voice of Trees community which includes Italy, France, England, New Zealand, Canada, Germany, Greenland, Ireland, Spain, Japan, and the Netherlands. https://coca.tallahasseearts.org/art-in-public-places/voice-of-trees-tallahassee This Is What Falls by Michael Rothenberg Cascade Park by Virgil Suárez Two haiku by Summer Hill Seven Surrounded by Terri Carrion
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Concerti da camera nel parco (Museum of Sounds, Villa Doria Pamphilij)

Concerti da camera nel parco (Museum of Sounds, Villa Doria Pamphilij)

Roma, Rome, Italy
Museum of Sounds is part of the project Voice of Trees. Concerti del M° Giuseppe Natale Giuseppe Natale è nato a Roma nel 1957. Compositore e polistrumentista , fin dall’infanzia si è dedicato alla composizione di brani di vario genere e per oltre quarant’anni ha scritto musiche per le immagini. Dal 2017, mosso da una forte spinta interiore, ha deciso di recuperare le composizioni di musica da camera dedicate alle più diverse formazioni, scritte negli anni precedenti e mai portate alla luce, facendo di questo il principale obiettivo della propria attività creativa presente e futura. FLACLAPIA’(2018). Trio per flauto, clarinetto e pianoforte in tre movimenti. Flauto: Chiara Cataldi. Clarinetto: Adriano Ricci.Pianoforte: Arianna Granieri. SEASONS OF LIFE (2016). Brano per pianoforte dedicato alle diverse fasi della vita. Pianoforte: Arianna Granieri. SAFE HARBOUR (2012). Trio per flauto, clarinetto e pianoforte in un unico movimento. Flauto: Francesca Salandri. Clarinetto: Cristina Gregorini. Pianoforte: Ivano Guagnelli. SERALE (2019). Brano basato su una serie dodecafonica. Pianoforte: Arianna Granieri. DIALOGUE (2019). Brano costruito intorno ad un Re centrale del pianoforte che è presente in ogni battuta della composizione. Pianoforte: Annie Corrado. WINTER RAIN (2011). Brano dal sapore new age. Chitarra e tastiere: Giuseppe Natale. Pianoforte: Leandro Piccioni. SOLITUDE (2007). Brano per piano elettrico e quartetto d’archi. Piano elettrico: Leandro Piccioni. Quartetto Pessoa: Marco Quaranta violino I, Rita Gucci violino II, Achille Taddeo viola, Kyungmi Lee violoncello. Credits Cover Jerome Myers, born Petersburg, VA 1867-died New York City 1940 ca. 1920 Smithsonian American Art Museum
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Talking chairs: Voices for the future of the planet

Talking chairs: Voices for the future of the planet

Poets and authors of the sound installation: Sara Capoccioni (poet) Galen Cranz (author of The Chair) Lidia Popolano (poet) Mariapia Quintavalla Elena Ribet (poet) Chelsea Rushton (poet) Angela Schiavone (poet) Marco Sonzogni (poet) Matilde Tortora (poet) Music by Lucio Lazzaruolo and Notturno Concertante Using Louis ghost chairs, the installation Talking chairs by Giovanna Iorio combines the transparency of this iconic chair created by designer Philippe Starck to the colours and sound of her unique voice portraits, spectrograms of the human voice. Chairs and human voices will be the only protagonists of this new sound installation that aims to reflect on the possibility of dialogue in a time of isolation. Philippe Starck described his transparent chair in these terms: “You are not sure exactly what it is but everyone recognises it and sees it as something familiar. It’s here when you want to see it and you can blend it in if you want to be discreet. It is half disappearing, dematerialising. Like all the production of our civilisation.” Through the “transparent design furnishings” the aesthetic aspect of transparency became accepted globally. In a society where everything that counts must be visible, the invisible becomes a valid alternative. Words, being a product of civilisation, disappear and dematerialise everyday leaving human beings every day more silent in a world of noises. Starck said that “the universal success of the Louis Ghost chair does not come from its design but from collective memory. The Louis Ghost chair was produced by our collective subconscious and it is only the natural result of our past, our present and our future.” In this installation we await for curious visitors to sit on the invisible chairs, blended in nature and only revealing the invisible colours of the human voice. Ten authors from Italy, USA and New Zealand have sent their message and voices to reflect on past, present and future. Talking chairs invites visitors to a place where chairs will no longer be chairs, but imaginary islands for urban sailors.
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The Enfield Poetry Walk One

The Enfield Poetry Walk One

Enfield
Seventeen poems celebrating Enfield Town and around. Project directed by Anthony Fisher Creator of sound walk Giovanna Iorio Poetry Walk 1 - inspirations 1. Bright Stars by Christine Vial. BRIGHT STARS. Title is from Keats poem “Bright Star” about his love for that girl next door.(Line 2)Interested in the idea of women/ me as creators( rather than muse) and their recognition (or lack of). 2. Cedar Tree by Valerie Darville. A mighty tree reduced to a cold stone stela and plaque. 3. London Road by Anthony Fisher, standing in London Road reflecting on the past and changes that have occurred. 4. Enfield by Karina Vidler. The poet recalls how important Enfield has been to her family. 5. Doubting Thomas by Alan Murray. Written in the voice of my alter-ego, the arch-pessimist, Harry, the poem reflects on that other great pessimist, Thomas Hardy, who married his second wife, Florence Dugdale, in St Andrew’s Church in Enfield. 6. Precinct by Christine Vial. Observational poem built up from visits to Enfield Town precinct. Focus on those who are lost/outsiders among the merry crowds and consumerism. Final line is from the strap line to the first Alien film “In Space no one can hear you scream”. 7. Planting Trees by Mary Duggan. The poem was inspired by the wonderful presence of the great old tree which sprawls across Enfield's Central library green. 8. The Silver Fish by Valerie Darville. The poem is a literal description of a walk I took along the New River from Enfield Town to the Town Park on a very hot summers day. 9. Denmark May 5th 1945 by Anthony Fisher. An end of the war story of two families. 10. Conical Corner by Ruth Hanchett. What inspired me to write Conical Corner is the great sense of history meeting today, the contrast of past and present. 11. Is this to be the Year by M.Anne Alexander. Reflections on New Year’s Day 2020. 12. The New River Loop by Jo Cooper. This was inspired by the tranquillity and beauty of this lovely spot. 13. On Gentleman’s Row by Cheryl Moskowitz. Reflections on the time of Charles Lamb in Enfield. 14. Ginko Baloba by Jayne Buckland. A homage to tree that has a very old and honourable lineage. 15. The Churchyard by M.Anne Alexander. Memories of a walk by an old Churchyard. 16. Poet’s Corner by Anthony Fisher. Reflections of a poet at an open-air poetry reading. 17. Chartrefest by M.Anne Alexander. Consideration of the past whilst standing in a Market Place given a charter by James I.
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Tribute to the Thames

Tribute to the Thames

London
A trubute to the Thames. (From the archive UbuWeb) An extensive iteration of Roni Horn's encyclopedic project to photograph the Thames, staged at the Art Institute of Chicago, saw the artist partner her own signature fluidity with the solidity of the modernist canon. Curated by James Rondeau, this remarkable exhibition, "Some Thames," consisted of seventy-seven framed photographs installed throughout twenty-five galleries devoted to the museum's permanent collection of modern and contemporary art, as well as in its corridors, stairwells, lobbies, offices, and library. The footnotes that Horn employs in her work usually provide textual counter-points, but in Saying Water, 1999-, a monologue that she performed at the exhibition's opening, literary allusions became discursive. Dressed in black jacket and pants, she assumed the mannered cadence of a poet, showing slides and interrogating her work, her viewers, and herself. Emphasizing in her poses the androgyny of her name, her self-conscious attitude shifted to become by turns conversational, anecdotal, and seductive. Paired with the non-narrative structure of her photography, chains of quotations linked figures as disparate as Emily Dickinson, Hank Williams, and Martin Heidegger. These accumulations reiterated a desire for transparency in the face of opaque mundane experience. "Water is the master verb," stated Horn, "an act of perpetual relation." Horn's attention to what she characterizes in her accompanying text as "the minuscule," the "aberration that is rare formation," accounts for the work's haunting presence. If we accept Horn's larger project as a sustained meditation on identity, then our task is equally charged by its endless variability. We followed the unexpected contingencies of "Some Thames" like a treasure map. The identification of Monet with water may be cliched, yet as we viewed Horn's photograph next to Matisse's Interior at Nice, 1919-20, a sunny seascape reverted to what it actually consists of, a slice of blue paint. In a gallery of German Expressionism, the sour effect of Ludwig Meidner's 1913 portrait of Max Hermann Neisse was heightened by Horn's mustard-colored photograph. Elsewhere an orange speck on a mottled Thames surface echoed the edge of Clyfford Still's abstraction 1951-52. Not only formal, Horn's edits were also conceptual. Like a liquid connoisseur, she replaced one too many Giacomettis with a photograph in which a brittle black branch matched the paintings' skeletal linearity. Abutting a Juan Gris Portrait of Picasso, 1912, the choppy river informed the jittery gestures on the canvas. Horn's glittering surfaces chimed with the hallucinatory landscape of Roberto Matta Echuarren's The Earth Is a Man, 1942, and the popular Magritte Time Transfixed, 1938, will never seem quite the same after Horn's pairing of the steam from the locomotive with the water's smoky wake. Twins are never truly identical, and by Horn's analogy, water does not reflect us, but rather we reflect the water, in all its confounding mutability. The theoretical implications of this installation complemented and supplemented the chronology of the museum. We were encouraged to proceed through the modernist canon as if walking beside a river, Horn's quasi-abstract surfaces provoking reciprocal exchanges that marked formal and iconographic similarities between permanent masterpieces and temporary photographs. An allegorical exercise, "Some Thames" partook of and amplified conventional taxonomies while resisting their classification. In most cases, Horn's image was the other to the museum masterpiece, and yet, following its wide-ranging itinerary, the Thames became the figure, the collection the ground. The absence of labels for Horn's series signaled the uncertainty of authorship yet marked the photographs as interlopers. In this project, Horn complicated her system once again. In its insistence on doubling and difference, "Some Thames" first queered the river, then the museum in which we were reflected.
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