Bio
Piero Mottola is an artist and experimental musician who teaches Sound Design at the Academy of Fine Arts of Rome. He is the director of the LER Laboratory of Noise Aesthetics, founded in 1996, a research center on the relational and emotional aspects of noise. His training takes place in the context of Eventualist Theory at the Jartrakor Study Center in Rome where since 1988 he has been studying the subjective response and free interpretation of the listener/viewer to visual and sound structures, through experiments and measurements and he held his first solo show Miglioramento Peggioramento e Bello Brutto. He has been invited by several international universities to lecture and to carry out masters on the relationship between noise and emotion. The results of these researches were published in the book Passeggiate emozionali, dal rumore alla Musica Relazionale, presented in various Italian and international universities and as part of cultural broadcasts by the Italian radio and television, Rai Uno, Rai Radio Tre and Radio Cultura Argentina. These researches have also been presented in various international museums and institutions: FIAC Grand Palais, Paris (1992); Palazzo delle Esposizioni, Rome (1993); Artissima Lingotto Fiere, Turin (1994); Galleria Pino Casagrande, Rome (2003 and 2010); Fondazione Volume and RAM Museo Radioartemobile, Casa dell’Architettura, Rome (2010); Fondazione Spazio13, Warsaw (2010); Fondazione Signum, Venice (2010); Hochschule für Musik und Theater, Leipzig (2011,2014); 54th Venice Biennale (2011); Institut für Kunstpädagogik Leipzig University (2011,2014,2021,2022); 11th Havana Biennial (2012); Galleria OltreDimore, Art Basel, Basel (2012); 2nd China-Italy Biennial in Beijing (2013) and Turin (2015); MAMBA Museo de Arte Moderno, Buenos Aires (2013); Galleria Nazionale d’Arte Moderna, Rome (2013); 4th End of the World Biennial in Chile (2015); EAC Escuela de Actores de Canarias, Tenerife (2016,2018); Polytechnic University of Valencia (2015); MACRO Museo d’Arte Contemporanea, Rome (2015,2017); Museo Hermann Nitsch-Fondazione Morra, Naples (2009,2015); MAC Museo de Arte Contemporanea, Santiago of Chile (2016); 4th China-Italy Biennial, Art District 798, Beijing (2016); Beijing Institute of Graphic Communication (2017); Contemporary Cluster Gallery, Rome (2018); Istituto di Cultura Italiano in Beijing (2017); Academy of Fine Arts, Warsaw (2017); Miami River Art Fair, Miami (2017); ISA Universidad de las Artes, Havana (2017,2019); Contemporary Cluster Gallery, Rome (2018); Fondazione Morra-Casa Morra, Naples (2018); Shanghai University (2018); Certosa di S. Martino, Castel S. Elmo, Naples (2018,2019); CCK Kirchner Cultural Center, Buenos Aires (2019); Istituto Italiano di Cultura, Buenos Aires (2019); Fudan University, Shanghai (2019); Museo Nacional de Bellas Artes, Havana (2019); MAD Murate Art District, Florence (2019); MArTA Museo Archeologico Nazionale, Taranto (2020,2021); 14th Havana Biennial (2022); Auditorium Parco Della Musica, Rome (2022); Auditorium Institut für Kunstpädagogik, Leipzig University (2022); BienalSur, Buenos Aires (2023); International Red Cross Museum, Geneva (2024); XV Bienal De La Habana (2025); Fondazione Morra/Archivi Living Theatre, Caggiano (2025); Bauhaus Museum, Berlino, Weimar, Dessau (2025).
Any succession of sounds, noises and smells, imprints an arabesque of forms and colours in the mind. Therefore the intensity of these must be measured and the arabesque perceived.
(Carlo Carrà, La pittura dei suoni, rumori e odori, 1913)
ITA
Attraverso un'analisi autobiografica e metodologica vengono esposte alcune delle ricerche sperimentali sulle potenzialità estetiche ed evocative del rumore sviluppate da Piero Mottola a partire dal 1988 nei corsi d'insegnamento e nei laboratori di Plastica Ornamentale e Sound Design, presso le Accademie di Belle Arti de L’Aquila, Firenze e Roma. Lo studio analizza la natura sinestetica di rumori referenziali, naturali, artificiali, umani, animali e le relazioni cromatiche da essi generate. Nel delineare il processo di sublimazione applicato ai risultati sperimentali, vengono illustrate mappe emozionali complesse, in grado di relazionare entità cromatiche e acustiche e di produrre algoritmi organizzabili anche automaticamente e musicalmente, dando origine a un inedito metodo di composizione concepito per attivare reazioni emotive e interpretative, originali e perturbanti.
ENG
Since 1988, Piero Mottola has been investigating the aesthetic and evocative potentials of noise in his courses and workshops of Ornamental Plastic and Sound Design at the Academies of Fine Arts of L'Aquila, Florence, and Rome. This study uses an autobiographical and metodological analysis to elucidate some of Mottola's experimental research, which examines the synesthetic nature of referential, natural, artificial, human and animal sounds, and the chromatic relationships they generate. The experimental results undergo a process of sublimation, during which complex emotional maps are produced, capable of relating chromatic and acoustic entities and of producing algorithms for automatic music. This gives rise to a unique and unusual method of composition, designed to stimulate original and perturbing emotional and interpretative reactions.
Il volume è disponibile in lingua italiana e inglese. Per richiedere una copia autografata, si prega di scrivere a pieromottola@gmail.com
01. Fuga, 10-emotion color environment, 54° Venice Biennale, Arab-Syrian Pavilion, 2011
02. Relational Ring, MAMBA Museum of Contemporary Art, Buenos Aires 2013
03. Relational Ring, Nina Torres Gallery, Miami River Art Fire, Miami 2017
04. Relational Ring, Nina Torres Gallery, Miami River Art Fire, Miami 2017
05. Sequenza cromatica E.37 vicino lontano, MACRO Museum of Contemporary Art (permanent collection), Rome 1999
06. Ritmo cromatico a 10 emozioni, MLAC Laboratory Museum of the University of Rome La Sapienza, 2002
07. Ritmo cromatico a 10 emozioni, MLAC Laboratory Museum of the University of Rome La Sapienza, 2002
08. Stupore, 10-emotion color environment, Pino Casagrande Contemporary Art Studio, Rome 2009