Mediterranea 18 Tiranë -Durrës – Driant Zeneli
Curated by Maria Rosa Sossai
“Radio Anarti” is an open and participative radio – a constantly evolving container that adapts to the people who host it, dynamically interactiing with them. The idea for the radio came from a meeting between the poet Jonida Prifti, the musician Stefano Di Trapani, the actress Valentina Di Odoardo and the painter, Nicola Rotiroti.
It’s name, Anarti, is an anagram of the place where the radio took shape for the first time, Tirana. Its inaugural broadcast was part of the Biennale “Mediterranea 18 Young Artists”, which was about anarchist art, emblematic of the meeting between the four authors. Participation is at the core of this project, a dialogue and a bridge between it and the territory.
The radio is created in the open, in a meeting place such as the town square, as in Tirana. In this way from the very beginning the radio is open to citizens, through meaningful actions. The artists are the radio’s workers, collecting suggestions on the sounds from the area, voices from the locality, interviews, but also quite simply, attempting to involve citizens in writing words and thoughts in various languages and dialects.
Stefano Di Trapani
Stefano Di Trapani is a muscian, journalist and multimedia artists born in Rome on 4/11/75.
As a musician he has over 20 years of publications under his belt: in Italy and abroad as a soloist, as part of groups and in collaboration with Italian and international artists such as Dino Felipe, Maurizio Marsico, Ludo Mich, Gustoforte, Calcutta, Polisick. He has been produced on lables such as Sonic belligerance, No Fi, Stront, Retinascan, V // VM Legno, Geograph, SST, My Dance the Skull, and Filibusta.
He is co-author and editor of the fanzine Epoc Ero Uroi, and co-founder of the Selva Elettrica music label. Each year he organises the outsider festival BABA, in Rome and the Poetry festival Poesia Carnosa, two international events. Since 2010 he has been collaborating on the magazine Vice Italia as a music reviewer and columnist. In 2013 he managed the online columns “Demented parla da solo” and “Italian fogorati”; he also works as a columnist for online magazines such as “Ultimo uomo”, “Prismo”, “OOrlandOO”, The Towner and “Scioc!”. Among his other activities, he lists designer, a character poet and a video maker.
Valentina Di Odoardo
Actor, writer, director and trainer in social theatre. She was born in Pescara in 1973 and lives and works in Rome.
Since 2001 she has been working with CIES Onlus as the Theatre and Intercultural Entertainment Manager. She has devised and delivered a number of interactive theatrical shows as a writer, director and actor. These include: “Sola Andata” at a theatre in India, “Io viaggio da solo” , “Io viaggio Equo e Solidale” and “Rotte Migranti” at Castello Colonna di Genazzano, as well as in other Italian cities, including Torino, Palermo, Napoli, Macerata, Pristina, Skopje and Tirana.
Nel 2014 she curated the show “Racconti e poesie dl mondo ad occhi chiusi“ at the Maxxi as part of the Open Museum Open City exhibition.
Si occupa da qualche anno di Teatro dell’oppresso sia come attrice che come Jolly (facilitatrice di comunicazione).
She has been involved in Theatre of the oppressed for several years as an actress and Jolly (communication facilitator)
She has attended the International School of Acting in Rome, various theatrical workshops, including a seminar with Marylin Fread – the official coach from Actor Studio New York – and the advanced course for Social Theatre Operatives held at the University of Milan “La Cattolica”, with a work placement at Rebibbia prison.
Born on 6th June in Orizaj-Berat (Abania), she immigrated to Italy in 2001, where she is a poet, vocalist, performer and singer. Her main publication, sound and vidieo productions include: “La Poesia: luogo delle differenze” (Marcus Edizioni, 2012), Paesaggio 013 (Caratteri Mobili Edizioni, 2013), il saggio Patrizia Vicinelli, La poesia e l’azione (Onyx, 2014), “La Feminilizzazione del mondo” – Compilation di artiste femminili (Arte nel rumore, Ozky e – Sound, 2014) etc.
Since 2007 she has participated in various international action poetry festivals including “Secret Anarchy Garden” (Londra), “Colour out of space” (Brighton), “November Fest” (Anversa), “Open Summer” (Atene), “Poetitaly” (Roma), “PoEtiche” (Roma), “Campcosmic” (Berlino) etc. Working with Stefano di Trapani she formed the poetronic duo “Acchiappashpirt” (with many publications including: Flutura, My Dance The Skull, 2015, tape, UK; Sonete të turpshme, Ozky e – Sound, CD, 2012), and founded the poetry sound festival : “Poesia Carnosa” nel 2010. An extract of her poem poema “Rivestrane” was published in the anthology “Trivio” (Oèdipus Edizioni 2016) curated by Francesco Muzzioli. IN May 2017 she participated in the European biennial “Mediterranea 18 Young Artists Biennale” (Tirana, Albania) with the project “Radio Anarti” in the “Literary Creation” section, curated by di Maria Rosa Sossai. www.jonidaprifti.com
(Anarti: an anagram of Tirana. Ana as in anarchy and Arti as in art.)
Radio in Albania was the main an only means of communication with the world: a world which didn’t exist because the radio was controlled by the regime. The only station that existed was Radio Tirana.
Provando a ricevere bene il canale si entrava in contatto con altre frequenze, altre lingue, altri mondi. Mondi confusi, disturbati dal monopolio di Radio Tirana. L’atto di muovere la manopola era un gesto di ricerca… E allora passando da una stazione all’altra, da un mondo sonoro ad un altro potevo suonare la radio.
While trying to find good reception, one enters into contact with other frequencies, other languages, other worlds. Worlds that confuse and disturb the monopoly of Radio Tirana. The act of moving the dial was an action of research, moving from one station to another, from one world of sound to another
To discover the world to find an identity that in Albania was sedated.
The Radio: reminding and reaching out to people through a means that records without recording, an archive of time, of the past… and consequently brings the past to the present. To remember through sonic incursions into an era (research into the archives compilations of the important sounds that tell of the implosion of the years of dictatorship).
Trasformare quella che per me era Radio Tirana, in Radio Anarti: portarla dal suo essere monolitica, centrifuga, autocentrata, autarchica a una condizione centripeta in modo da mettere in relazione biunivoca e dialettica il dentro e il fuori (dalla radio alla città, dalla città alla radio).
To transform what for me was Radio Tirana, into Radio Anarti: taking it from its monolithic, centrifugal, self-centered, autarkic being to a centripetal condition in order to connect bijective and dialectic inside and outside (from the radio to the city, from the city on the radio).
But not only that: at the same time collect other realities in the same radio. In many different ways:
“Envoys” move through different situations of Tirana, through multiple means. A mutual contact: the people and the realities involved can listen to the radio, but also record a message that, in turn, everyone will be able to listen.
The envoys will physically leave the radio built by us, bound to (threads of different colors). When travelling from the radio (located in the place designated for the biennial) to the various locations (significant places in the city), these will create traces, representing the radio frequencies.
At the source, we will see a physical radio, a large container that will embrace all the suggestions coming from Albanian reality and not. For example, there will be a connection to the Tomor mountain, a mystical place par excellence, where they talk of an ancient oracle: or radio communications with different independent spaces in Rome and Tirana where we will try to translate works of various artists into radio frequencies (“now we will transmit the artist’s picture …….”). Or again: a correspondent who, with a “radio-car”, will explore the city and transmit sounds, voices and situations that will inevitably be created along the way. Among other things, there will also be a link with the city’s Roma market, in which a station will be housed in its centre, where direct interactions between radio speakers and the public will take place, an absolute protagonist.
Unico leitmotiv sonoro e fisico sarà la voce e il viso di Jonida Prifti che comparirà dalla radio posta alla biennale. Radio Anarti sarà un grande contenitore costruito come una radio degli anni 30-40. Il mezzo così com’è nato, attualizzato e liberato. Jonida è la voce che racconta, la speaker “ a vista”. Ritornerà e ricorrerà, a tempi cadenzati, come medium di sintesi vocale fra tutte le attività artistiche e non, fra tutte le suggestioni che cadranno dall’esterno. L’artista tradurrà in happening poetici le connessioni con il mondo: un mondo simbiotico.
The only sound and physical leitmotif will be the voice and the face of Jonida Prifti who will appear on the radio at the biennial. Radio Anarti will be a large container built in the form of a 1930s/40s radio. The means as it was born, actualized and liberated. Jonida is the voice that tells, the speaker “in situ”. It will return and will recur, in rhythm, as a vocal medium a synthesis between all artistic and non-artistic activities, among all the suggestions that will come from outside. The artist will translate the connections with the world into poetic happenings: a symbiotic world.
- Create a bridge between independent Italian and Albanian realities.
- Open up a point of reflection on the radiophonic frequency within the social area.
- Create a physical radio within the shack of the Roma market of Tirana
- Bring the radio to the people in a direct manner.
- Bring the radio directly without wires (human radio)
- The attempt to take the radio Tirana frequency.
- Communciation via the radio-shack, so amateur radio.
- A station with a radio-shack at the market and a radio-car to tell the story of the city.
- To translate paintings of various artists into radio frequencies “now we will transmit the painting of Rotiroti” (also for the visually impaired).
- Italian and Albanian folk music. To contrast.. also electronic music.
- Joinda is the voice who recounts, the speaker… it will be possible to see her because she will be physically inside the radio. She will appear as a vocal summary of all of the artistic and non-artistic activities.
- The evocation of the spirit of radio from the 30s, 40s… 90s) see radio archive.
Mettere in relazione biunivoca e dialettica il dentro e il fuori (dalla radio alla città, dalla città alla radio)
- Putting different realities in contact
Why the radio?
- To remind and reach the people through a means which records, the recording of time, the past, which takes you to the past with a modern-day key.
- It is the first and only means of communication with the world which was a world that didn’t exist.
- Discover a world to create an identity that didn’t exist in Albania.
- I hated radio Tirana, I was happy that other stations such as Top Albania Radio were launched.
- When you tried to tune the radio you came across other frequencies, other sounds, other languages, which you couldn’t identify and you asked yourself: did another world exist!!!
- It was both effective and a failure (people don’t listen to the radio anymore). Part of our attempts will be to fail. Quite necessary.
- The aspect of being able to change frequency as and when you want, to catch a sound, surfing channels, looking for your favourite station, the search for desire— it is a journey… an exploration… explore the radio frequencies.
- you play the radio
- Radio frequencies as a subject
- I hated radio Tirana, I was happy that other stations such as Top Albania Radio were launched.
- Radio Activity
- The radio “envoys” will be sent to various situations in Tirana (but they will also be sent to other places and broadcast from there=, and through Instagram, put the radio in contact with the different realities there. A two-way contact: the person who the envoy makes contact with can listen to the human radio, but the person can also record a message for the radio.
- Even just background noise is enough as it reminds us of the sound of the frequencies.
- The envoys will physically leave the radio built by us. They will have different coloured wires and as they travel out from the location of the biennial to various places, they will create coloured lines that trace the route (the radio frequencies).
- Using vintage radios, we will place them in symbolic places (in houses, Enver Hoxa or in the pyramid).
- N. send an open call letter to participate in the radio (even with a one piece)