How did sound progressively liberate itself from rules and codes to be investigated as pure vibration? How did the new electronic technologies stimulate the birth of innovative artistic idioms that including sonic manipulation? From silence to noise, from phonemes to instruments, through to the infinite possibilities of technical reproduction, the exhibition describes how over the years sound has permeated the artistic fabric to the point where it contaminate film, theatres, choreography, literature, publishing and the mass media.
From the works of the great fathers of sonic experimentation of the 1960s, Luciano Berio and Bruno Maderna, to the happenings inspired by Fluxus, John Cage and the Gruppo Gitai; from the sonic poems of Maurizio Nannucci to the audio visual environments of Ugo La Pietra and Gruppo T; from the experimentation and the first festivals of the 1970s, Punk and Carmelo Bene, the spread of computers and the first works of interactive art in the 1980s through to the present day with collaborations between the likes of Mimmo Paladino and Brian Eno. All this to tell the story of sonic experimentation in Italy between 1950 and 2000, in an exhibition housed in the museum hall and the space devoted to the archives.