Behind this review there is a long story. I have been trying to see a gig of Lorenzo Senni since months, but for but astral adverse conditions, I never succeeded. Finding myself in Turin, I happened to note that Lorenzo would be performing at Cripta747, one of the most active cultural centers in the city, there was no time to waste. However, also this time I missed him, the gig was a few hours before the opening, at night, in the total darkness of the smelly basement of Cripta747, only for few close friends. Indeed in Turin there is always the risk that that kind of live, among the industrial warehouses of corso Novara, turns into an after party, which would mean, in a way, losing the essence of the concept of listening.
Head of respected experimental label Presto!?, Lorenzo Senni produced one of the last couple of years most unique albums “Quantum Jelly”. His work explores the idea of the “buildup” found in euphoric dance music as a starting point to make a non-uplifting, more introspective piece that implicitly preserves its emotional tension and drama. The music often begins with one simple idea or musical pattern, forcing it into a sonic spiral of percussive, endlessly contagious, arpeggiated melodies. Lorenzo Senni, who coined the term “Pointillistic Trance” to define his approach, is described as a sadistic scientist that is ripping the spinal cord out of trance and dangling it in front of our eyes.
Basically what I saw at the opening was a “day after” set up, ruins of an atmosphere created the night before. Two words are spoken simultaneously, in a double movement that brings about a shift in time. In Painful Zombies Quickly Watch A Jinxed Graveyard, the interactions between the practices of Richard Sides and Ian Law take place on a stage measured by the parameters of a code. Within the space of the exhibition, delimited by a screen of pleated bamboo, images evolve like tropical diseases. Inverting the idea of a reworking, that underlies Ian Law’s artistic process, the pieces function as residues of the future. Materials that accumulated in an empty flower shop in Sant’Ilario are transported in order to make room for the possibility of work. Underneath this slowed temporal surface, bathed in green light, performed narratives emerge in confrontation with the practice of Richard Sides.
The time-space of this triple encounter begins to strain at the seams, containing both the event of a hospitable crisis and that of hallucinatory contemplation. Painful Zombies Quickly Watch A Jinxed Graveyard is a pangram (Greek: παν γράμμα, pan gramma, “every letter”) or holoalphabetic sentence for a given alphabet, a sentence using every letter of the alphabet at least once. The viewer stands in a religious silence, listening to Lorenzo Senni’s recorded performance, looking at the dead flowers, contemplating the neon lights of the basement, the raw materials of the pieces against the walls, and the fragile flame on the ground in Ian Law’s work There was a body, I was there, was a body. (2014). The industrial space becoming metaphor of a new cult. Painful Zombies Quickly Watch A Jinxed Graveyard is curated by Almanac.