Between the translucent and the blue by Simona Barbera is an installation focusing on auditory proximity between subject and space, stemming from an aural-architectural experience of 3D spatial sound and Ambisonic recordings.
There is this place where time stops, holds up. Walking across the fading streets, in this year of dispersed rerouted empty archives, it seems like we've all given up too easily.
Vampire youth light up corners, lingering at the edge of concrete benches and unbreakable glass windows, escaping small block of flats. Gyms shut down while in the background, widening lights of corporate shopping malls flicker in reflection all night and all day.
Under the cover of dawn, the intersecting multitude is not a meeting place but a disjointed lot – Also the rhizome of the unsaid and of dusk lines, all counterpoints to the well-lit center halls. Broken neon lights hanging loose, underscore blinking to the restlessness of life itself.
In a fog, in downpour, or a muted morning. Still, time looking for a single point of failure.
A gust blows past city tunnels under outskirt borders, queues split sideways, where resistance always fills the breeze breathing with the impossible.
Here is where I felt something different. Something unwritten as the sound of the hidden city made barely visible. Surfaces that stretch out in un-gridded noise, a dispersion of waves, particles, and broken curves
The sound piece unfolds recordings based on non-linear narratives and body movements around urban infrastructures. Barbera's latest artistic practice focuses on sonic sculptures conceived as an integral part of installations responding to specific contemporary spatial contexts. By exploring sensibilities of urban spaces under changes and pressures, most of her works develops into abstract sonic textures of layered forms.