Executioner / A brief concert for graffiti, voice and synthesizers

ph: Fromajari

he board of scoundrels
do not pull the belt pull the molotov

This interpretative exercise of spray vocabulary from the early twentieth century up to today is yet another point of view to observe our part of the world, to come across intrusions and collapsing meanings. These slogans are short and immediate pieces of context that can amuse, irritate, mark one’s distance or lead to shared insights encounters. We can position them in the practice of the revolt, they are thoughts in their germinal form.

Boia was originally designed for the event Bologna on the wall, a day of artistic and musical events held in september 2011, organized by Facchinx2 (Elastico and Serendipity), and inspired in various ways to the wall writings collected in a web archive. The idea of the project was inspired by the hundreds of wall writings photographed and collected in the last four years on the walls of the city of Bologna.

On the occasion of this day-long event Facchinx2 asked Fiorenza Menni to prepare a performative intervention based on the archive material. Thus was born, in a small tent placed in a corner of Via Facchini, the first poem that Fiorenza composed and interpreted by voice and sounds: Boia. The following year, this poem was developed in the first chapter of the URBAN SPRAY LEXICON PROJECT: Executioner-A brief concert for graffiti, voice and synthesisers.

URBAN SPRAY LEXICON PROJECT is a dramaturgical and performative research of the writings that appear and disappear from the city walls. . It consists of Executioner-A brief concert for graffiti, voice and synthesisers (2011-2012),  If you want my skin (2013) and the lesson-performance Freedom has many forms. Notes and news from graffiti writings (2013).

With URBAN SPRAY LEXICON PROJECT Ateliersi collects the writings from today annotating and photographing them, and rescues those from the past digging them up in books, reviews and private collections. From the collected material Ateliersi composes a new dramaturgy, storing them in the poems becomes a way of preserving the ephemeral. To these small units of text, on the scene are given cries and whispers: visual signs are transformed into performative gestures. It is an artistic operation where theatrical language operates in straight contact with visual arts and sound design, where the dynamics of an urban landscape become a scenic material. Ateliersi is interested in the street, inhabited by anonymous individuals, where the limit between public and private is mobile and undefined.

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