THE HISTORY

Interferenze starts in 2003 in San Martino Valle Caudina, in a small rural village of the Southern italian province, in the western borders of Irpinia.

In an early stage just focused on electronic music (during the edition of 2003 and 2004, at the Ex Civic Gallery of Contemporary Art in San Martino Valle Caudina),the festival, with the following editions grows bigger and draws its attention to the panorama of arts related to new technology, becoming a sort of laboratory where a rural territory and its characteristics (identity, traditions, natural environment, landscapes, gourmet) leads to more open expressions related to languages of aesthetics of new media as new forms of sharing, with the aim of diffuse knowledge and new experience in the public sphere.

From “rumors and countryside’s bit” theme of the 2005 edition, to the total immersion in the Mount Partenio’s forest for “Naturalis Electronica” of 2006, Interferenze becomes an open space of testing and contamination that puts together the soul of a rural territory and its gourmet tradition with a digital and organic artistic research, that integrates local and digital culture.

In 2007 Interferenze produces Mediaterrae Vol 1, at the same time an audio video production, an event and a residency project in which the 18 involved artists (coming from all over the world) shared collectively the production of an exotic, social and aestetic experience, namely the Montemarano Carnival and subsequently its process of reinterpretation for the live event and the studio production. “This search of confronting foreign sensibilities and the challenge of elaborating peculiar images and sound is not a mere remixing process. Indeed it has to do with a cultural melting pot that goes beyond the usual urban territory, entering the field of historical and ethnic manipulation, starting a game with their significances and their origines.” (A. Ludovico)

In 2010, Interferenze is focused on “Rurality 2.0” concept: the festival draws on the possibility of giving to rural areas – through languages of art and new communication technologies – a new light, re-valuing them in the framework of their active role within global contemporary processes. 2010 is the year of the double version of the festival: in Bisaccia, in Irpinia, and in Tokyo, for a Japanese edition curated by Yukiko Shikata which is above all a tribute to the research done by Interference in previous years.

From 2012, Interferenze experiments with a number of different formats intervention in the territories in which it operates: artistic residencies, workshops, laboratories, hybrid cultural projects and activities in cooperation with local communities. No longer, or not only as being simply a festival, Interferenze becomes a platform of research focused on the rural, that produces a project to empower local networks like Liminaria, which was founded in 2014 in the rural remote region of Fortore and that is developed through a plan work of five years, but also projects like FARM / Interferenze 2012 in Tufo, Irpinia and Barsento Mediascape, a residency project that took place in 2013 in the Barsento area, Puglia region.

At the same time, Interferenze reinforces its role as a cultural producer working on research and dissemination of sound art in connection with the territories, in a series of exhibition projects at the MAXXI Museum in Rome (The Independent_Food, 2015) and at the MACRO museum in Rome (Otros Sonidos, Otros Paisajes, exhibition of sound art Chilean, 2017).