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"The blackboard series (1/2/3)"


"the idea of art"

"Akousmata - micro monument tribute to McLuhan"

"Share a secret"


"The sounds of my home"

"Global Fear Fun"

"Portable Cage Connection"

"Sound of thousand scratches"


"Alarm Mode"



"Detuning music creatures"



"Male Magnum"

"Voices for the invisibles"

"Words like stones"



"Wysiwyg trylogy"

"Fleshword trilogy"










@ ME

The cross-curricular work of Dario Lazzaretto starts from a well defined group of themes which involves a relational practice and approach. These themes, mainly concerned with the social, political and cultural aspects of contemporary life, are used as the conceptual bases and as critical tools for the making of the art work. Dario Lazzaretto develops its artistic operations starting from a problem solving-like method; his work could be defined a site-specific social analysis of the environment in which he finds himself working.His last production focuses in particular on sound art, which finds an apt counterpart and fulfillment with live performances, videos and installations. The core subject at the center of the latest and the oncoming works is that sound art could be considered as a narrative medium, not only a decorative pattern used to fill space and time.Sound is language, the primary transformative instance of man. Starting from this point, the sound used by Dario Lazzaretto in his works has an active and leading role; it is not only the audible part of an art piece, but it is the art work itself that lets the sound be visible. This kind of visibility is achieved through unveiling the inner causes of the sound itself, or by its glaring effects on the surrounding reality. Last but not least, another key point in Dario Lazzaretto’s works is the most hidden part of the art piece: the processing one. The process through which a performance or an installation is developed is almost always visible to the public. The inner relations that run from the conceptual project to its realization are integral part of the final outcome of the artwork. They could just be visible to the eye and to the ear, but also to the mind, as they could be simple logical concepts, or abstract thoughts. By unveiling the artistic procedure, the audience is charged with further responsibilities. The aim is to involve not only the aesthetic judgment – that is based primarily on eyesight and rapid glimpses– but to create a moral and ethic connection to the work*. ( * by Elena Squizzato )

My artistic interests and my research focus - with regard to the means of expression - are mainly around the sound element. I grew up and still work in full awareness of living in an era where images cover every form of communication, or rather, of input. In this historical moment in which verbal communication is sporadic and confused, and in which the recognition (and absorption) of ambient noise becomes a critical practice increasingly rare, my attention is directed to a process of cognitive recalibration, which returns the sound to its primordial value. In fact, I turned my attention to aural communication in an attempt to reactivate the cognitive mechanisms related to the interpretation of sounds - characteristic of the human being - that are as perceptively primitives as powerfully insightful. The kaleidoscopic beauty of music, the penetrating narrative power of noises, the re-discovery of the magic inherent in the word, are means which I try to use in my work design, are proof of the love I have for humanity and for its immense cognitive abilities. The subject of my work follows two directions: on the one hand unfolds from the critical and sometime cinical, but yet ironic, analysis of some social mechanisms that interest me (ethics, religion, politics); on the other side, the tiniest details, moments of poetry and absence, the naive balance of everyday life, become the stimulus for the observation and artistic elaboration. Aware that this process takes time and trust, and above all the search for its own public, often, next to this artistic activity strictly conceptual, I combine also the practice of drawing, in a simple and gestural form. Although I am aware that my drawings are artistically not relevant for my research, in the last few years I've used them as a sort of medium of exchange to facilitate relationships with the public (if the work needs relational procedures), or to incite curiosity in the less curious audience , or "just" to give a free smile. Anyway I always use to combine visual elements with my sound works, because "people need something to watch". That's why mostly all my sound installation and works include a "decoy" element, something to be given to the pubblic to watch while they are already absorbing/experimenting the audio.

Dario Lazzaretto