His work is liked by:
Tritriangle, AbbiaticiElena Giulia, CONTACT artecontemporanea, and 1 more


Body Score - Disparition
Body Score Nox
Body Score - Aura Phoenix
Body Score - Disparition

Jacopo Baboni Schilingi

Lives and works at Paris

Born 04/04/1971

Curriculum

Jacopo Baboni Schilingi was born in Milan in 1971. From 1993 to 1998 he was research composer at Ircam. He obtained his PhD with distinction in "Aesthetics" at Paris8 University. His music is performed all over the world. He has received several commissions from institutions such as IRCAM, Santa Cecilia, Radio France, EMW of Shanghai, Orchestre d’Île de France, Centro Tempo Reale, GRM, French government, MARCO in Mexico, Oi Futuro in Brasil, Saarländischer Rundfunk, Settembre Musica Festival, Cottbus Orchestra, etc. He received also several commissions from private foundations like RCS, Hermès and Louis Vuitton and Samsung. His compositions are performed in the most important internationals festivals by ensembles such as Ensemble InterContemporain, CourtCircuit, Klangforum Ensemble, Collegium Ensemble, Arditti String Quartet. Baboni Schilingi gives lectures in many universities and major music centres. In July 2013 he has been appointed “Chevalier des arts et des lettres” by the French Minister of Culture.

Statement

There are countless photographs of musicians: singers, violinists, pianists, percussionists, guitarists, or conductors. Their faces, facial expressions, their tense bodies… Or the musical instruments, with or without the musicians. It may seem that nothing new can exist in the relationship between music and photography. But despite this, one questions remains unanswered: what are these musicians playing? Is it possible to take into account, via photography, the deepest nature of music, its composition? The musical score. The score is a codified link, written by hand, which indicates how to embody the emotions that the composer expresses through his creation. Today, musical scores are generated by software, which allows the musical transcriptions to be printed and distributed, directly. Therefore the “original” notation is in fact already an automated product. Before the advent of such tools, scores were handwritten by composers, and the calligraphic excellence required was part of their stringent training. As with any precise, concentrated work, writing scores by hand demands long, intense labor. With time, a composer’s handwriting becomes a style, part of their personal signature, which corresponds to their sensibility. This is the school of composition in which Jacopo Baboni Schilingi was trained. Then, for seven years, he wrote using a computer and experienced notation in its most convenient form: the possibility of deleting errors, mistakes or inaccuracies, and the distinctly reduced remorse. He worked this way until he came to the realization that his music had changed. While the writing had gained in speed, and the mind was allowed a lower threshold of concentration, these same changes influenced the depth of the work itself. Writing by hand is not only a necessary process for basic learning, but – as we now know – the gesture of writing links vision and touch; or, more precisely: the brain simulates the movement before the act of writing. Accordingly, moving the hand is not the same process as calling forth a letter (or a note) on a screen. In other words, cognitive structures are a function of physical activity. Therefore it is logical that the mechanics of writing should transform the resulting text. The knock-on effects could be even greater for a musical score, which comprises not just notes and musical symbols, but rhythmic indications and emotions to be expressed. The score also provides guidelines for posture and movement, as well as indications for executing the score. Ultimately, it suggests a subtle choreography which allows the instrument or voice to express the composer’s intentions. As listeners, we are then “touched” by the music, which we hear as it simultaneously vibrates within us. From 2013, Jacopo Baboni Schilingi modified his compositional method to rediscover a “sculptural” sensibility, which had previously been altered by machines, via living materials, indispensable for creation. His choice is drastic, emphatic and powerful, as it represents – literally – a return to the body, a carnal return: his scores are henceforth not just written by hand, but also written directly onto human bodies. In his studio, converted into both a calligraphy atelier and photography studio, he collaborates with male and female models, who serve as living canvases for his compositions. ATTENTION : it was impossible to upload the video on youtube. I'm sorry : here is the link : https://www.youtube.com/watch?v=PDfPgKasrUI

Tina Prize - Roma Artists Tina Prize - Berlin Artists Tina Prize - Bercelona Artists