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 sound integrated sculptures but his real interest lies in the study of spontaneous otoacoustic emission, experimenting with the use of 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 as well as the use of ceramic as a means of expression, has been developing an inedited artistic language through the decontextualization of photography. This encounter between Fausto and Carlos brought about the creation of the MOVIMENTOSORDO project. Sound and image: two different but parallel worlds. Movimentosordo takes us off to a new wavelength: the Apocalypse in the desert of Werner Herzog could be the starting point where Fausto Balbo’s acoustic emissions meet Carlos’s surreal visions. Together like two druids in an Aleph tale by Borges, who, after living many lives and learning as many languages, express themselves through a new way of “speaking” free of any previous constraint. Movimentosordo can’t really be associated to anything except itself, perhaps…

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 contains the empirical curiosity of pure experimentation. “Photographic sculptures with infrasound” are shown with images that melt into their resonant frequencies and are in turn surrounded by them. Those who stop in front of the exhibit are enveloped into their sound while they observe the visible moments created through the monitors. This creates a “new language of seeing and hearing,” contextualized into a dual scenario (image and sound) where several levels of perception interact. The installation creates an atmosphere, highly evocative, stripped of the most immediate and superficial emotions. An atmosphere of formal ancestral beauty, specific of a space inhabited and contextualized by the art itself, where the experience is the synthesis of the material, subtly interpreted by our own senses, objectively concrete in its physical presence. Objectivity is given by the dynamic results that the elements create upon the individual, creating to each its own personal story. The event – experiment creates awareness for one’s sensibility and serves as an important point of reflection on the necessity to expand the theoretic canons of aesthetics as a whole.

Agostino Berta


Albenga Corsara, by Alfredo Sgarlato. Read