Movimentosordo Project
at Teatro de l'Attrito, Imperia (IT) 2/3/4 october 2015

Fausto Balbo works in music and sound. For years he has been building sculptures incorporating audio elements, but his real interest lies in the study of spontaneous otoacoustic emission, using D.P.O.A.E. (Distortion Product Otoacoustic Emission). Carlos Ferrando i Bellés, Spanish by birth but Italian by adoption, after a brief period of experimentation in addition to exploring the use of ceramic as a means of expression, has been developing an unusual, original artistic language through the decontextualization of photography. The encounter between Fausto and Carlos brought the MOVIMENTOSORDO project into existence. Sound and image: two different but parallel worlds. Movimentosordo takes us up to a new wavelength: the Apocalypse in Werner Herzog’s desert could be the starting-point where Fausto Balbo’s acoustic emissions meet Carlos’s surreal visions. They are like two druids in an Aleph tale by Borges: after living many lives and learning as many languages, they express themselves by means a new way of “speaking,” breaking free of all existing constraints. Movimentosordo cannot really be associated with anything, except, perhaps, itself…

Silvia Celeste Calcagno


Albenga Corsara, by Alfredo Sgarlato. read

Linfa Magazine, by Giovanni Cammalleri.

Movimentosordo Project
at Eleutheros Gallery, Albissola Marina (IT), 13 september/11 october 2014

The event featuring Fausto Balbo and Carlos Ferrando i Bellés exemplifies the empirical curiosity of pure experimentation. Their “photographic sculptures with infrasound” are shown with images that fuse into their resonant frequencies and are in turn surrounded by them. Onlookers who pause in front of the exhibit are enveloped by their sound while they observe the visual interactions created by means of the video displays. This creates a “new language of seeing and hearing,” involving a dual scenario (image and sound) in which several levels of perception are involved. The installation creates a highly evocative atmosphere, stripped of the most immediate and superficial emotions. An atmosphere of primeval beauty, a space inhabited and contextualized by art, in which the experience is based on synaesthetic materialization, subtly interpreted by our own senses, objectively concrete through its physical presence. Objectivity is provided by the dynamic results that the elements generate in the individual, creating a unique personal story for every observer. The experiential event enhances the awareness of one’s sensorial dimension, and it represents an important opportunity for reflection on the need to expand the theoretical canons of the overall area of aesthetics.

Agostino Berta


Albenga Corsara, by Alfredo Sgarlato. Read

Translated by: Henry Neuteboom