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Friday, August 28th
at 6pm, in the big square Opening
of the XXVII edition
following Ecouter le monde (Listening to the world)
a project by Monica Fantini_Radio France International
at the old school Isolamani
80 days | 80 words | 80 drawings
by Elena Rucli and Paolo Giangiulio
following Voices from the Waiting Room
meeting with Klarisa Jovanović and Amalia Stulin
with the dark L'heure bleu
installation by Jan van der Ploeg
curated by the Dutch Embassy of Topolò
in closed spaces, in loop
until September 1st
Mihacova klet
three videos by Tomaž Grom

at the old school
two short movies by Marco Mucig
until September 13th at the Norwegian Embassy
Ecouter le monde
sonorous postcards by Monica Fantini_ Radio France International

at Topolò’s Post office
ToBe Continued 2020
sounds for World TB Day

The library of the books of the heart
reading aloud, curated by Robida

casa Juljova hiša
PUT Pinacoteca Universale di Topolò
new acquisitions
Saturday, August 29th
at the jewish cemetery Concert for voice and double bass
with Irena Tomažin Zagoričnik and Tomaž Grom
in the evening, in the small square Voices from the Waiting Room
The Whale and the Leafs
meeting with the poet Michele Obit
with the dark, at the cinema Coronavirus Diary
The life before
, preview
two short movies by di Marco Mucig, meeting with the director
following Isolation, for double bass and voice
by Matteo Mosolo
Sunday, August 30th
late in the morning, beyond the church Trespass | processing an emerging choreography
by Marta Olivieri with Vera Borghini and Loredana Canditone
curated by Robida
following Voices from the Waiting Room
meeting with the photographer Ulderica Da Pozzo
at dusk Celante
concert / presentation of the album
by Patrizia Oliva
Tuesday, September 1st  
around 8pm Quintetto Abimà
traditional and cultured jewish music for clarinet and string instruments
in collaboration with Viktor Ullmann festival
Friday, September 4th  
in a house in the village, until September 13th Isolamenti
video by Elena Rucli
in the village, all day long Gestation
a project of relational art by Giulia Iacolutti
around 5pm Voices from the Waiting Room
The Theory of Empty Villages
meeting with the writer Mauro Daltin
following Ecouter le Monde
a project by Monica Fantini_RFI
at dusk Belledonne
for herbs, plants, sounds and images
a project by Patrizia Oliva and Beba Fink
Saturday, September 5th  
at 11 in the old school, until September 13th for two people at a time
Archaic perceptions of a singing body
in the magical and profane territories of Topolò

by Isabelle Duthoit
during the day Gestation
a project of relational art by Giulia Iacolutti
around 4pm Dotik
Fades_Sonorous constellation on the harmonic series of 3_5_7_11_13
by Antonio Della Marina
following The Memory of Sound and Space
sonorous project for Topolò
by Zahra Mani
in the evening Dotik
meeting with the film director Stefano Giacomuzzi
at 7.30pm, at Liessa V nebu luna plava / La luna nuota nel cielo
literary gathering, organized by KD Rečan
at 9pm, at the cinema Under the Cold Stars
documentary by Stefano Giacomuzzi
curated by the Institute of Topology of Topolò
Sunday, September 6th  
at 10am, walk to Javorca Patriarchy_Serenissima
Sergio Zilli, historian, tells about our border
in the first afternoon I-Stanze
play/video/work on an online platform
by Enrico Gabrielli/19'40"/Effetto Larsen
from the afternoon, at Zorio’s Star The Time of the River
Erica Benfatto, voice; Silvia Morandi, dance
around 5pm An architectural project for new ways of living Topolò | Topolove
a dissertation, Prešeren Prize UL 2019
by Janja Šušnjar
following, in the forest Archaic perceptions of a singing body...
by Isabelle Duthoit
with the dark Nocturnal
Sandro Carta, trumpet and electronics
from 8th to 13th September Pleasure Rocks, topolove
performative installation / inter-actions of bodies and minerals
residence of Titta C. Raccagni, Barbara Stimoli and Alessia Bernardini
Friday, September 11th  
until September 13th Gestation, outcomes of the project
by Giulia Iacolutti
around 6pm Voices from the Waiting Room
Of Blood and Iron
meeting with the writer Luca Quarin and editor Fabio Mendolicchio
following, at the Norwegian Embassy Pleasure Rocks, 1
installation of the project
by Titta C. Raccagni, Barbara Stimoli and Alessia Bernandini
with the dark, at the cinema a talk with the film director Gregor Božič and the producer Marina Gumzi about the filmStories From the Chestnuts Woods
Stories From the Chestnuts Woods
Saturday, September 12th  
today and tomorrow, Mihacova klet The Circle of the Harmonious Sound
a video by Björk Viggósdóttir
at around 11pm, at Zorio's star Mini Piano Tour Experience. Topolò
Alessandra Celletti, piano toy
at around 2pm, at the Stamorčak Pleasure Rocks, 2
performative body installation by Titta C. Raccagni and Barbara Stimoli
following Cure for humanity. A sound bench
inauguration of a sound bench installation by CoH
around 5pm, in the small square The 1420
told by the writer and historian Angelo Floramo
following, at the cinema Metamorphosis
by Giovanni Maier, double bass and Flavio Zanuttini, trumpet
with the dark, at the cinema Andrey Tarkovsky. A Cinema Prayer
a testimony by Andrey Andreyevich Tarkovsky
with Gianfilippo Pedote
Sunday, September 13th  
at 11am, at Stamorčak Pleasure Rocks, 3
by Titta C. Raccagni and Barbara Stimoli
at around 2pm, at Zorio's star Archaic perceptions of a singing body …
by Isabelle Duthoit
following, at Stamorčak Where is the poetry?
a short poem by Gianfilippo Pedote
towards evening Rational Music
rhythmic seralism
concert by Sebastiano De Gennaro
with the dark, in the big square Les Tambours de Topolò
(The rhytm from) The rehersal room. Intimate concert for distancing and barrels

The participation at every event and workshop is free.
News on the program at:
obligatory use of mask

Stazione di Topolò · Postaja Topolove
is realised by
Associazione Topolò - Topoluove

with the patronage and collaboration of
Comune di Grimacco (Udine)

with the support of
Regione Autonoma Friuli Venezia Giulia | Assessorato alla cultura
Fondazione Friuli

and of
Urad Vlade RS za Slovence v zamejstvu in po svetu
SKGZ, Myndlistarsjóður - Islandic Visual Arts Fund

in collaboration with
Radio France International, Film festival Kino/Otok Isola Cinema,
Cerneaz Pianoforti, ProLoco Nediške Doline, Zavod Sploh, Entract,
Unikum-Klagenfurt, Ass. Continuo, PS Projectspace,
Parrocchia di Liessa-Topolò, KD Rečan, Festival Viktor Ullmann

art direction Moreno Miorelli, Donatella Ruttar
technical director Valerio Bergnach
Voices from the waiting rooms Antonella Bukovaz

info: ·
+39 335 5643017 | +39 338 8764776

Archaic perceptions of a singing body in the magical and profane territories of Topolò

Isabelle Duthoit

What do you perceive while listening to a voice, a body, a song?
Acoustic perceptions of course, but not only these. Other perceptions come together, they transform and modify the original ones.

Perceptions are regulated, felt, in relation to:
1. The acoustic space
2. Light
3. Place
4. The other
5. Time

My project gives the possibility to experience the connections between my voice, my singing body, my improvisation and the different listening situations in order to discover known and unknown perceptions.

Isabelle Duthoit finishes her clarinet studies at the CNSM in Lyon in the class of Jacques Di Donato. She quickly turned to the music of today, working with many composers (G. Aperghis, G. Amy, D. D’Adamo, K. Huber …). She then found her favorite universe in free improvisation. She plays and collaborates with many artists on the international scene: Dieb13, Angelica Castello, Martin Tetreault, Franz Hautzinger, Hamid Drake, Michael Zerang, Phil Minton, Luc Ex, Thomas Lehn, Lê Quan Ninh, Jacques Di Donato, Xavier Charles , Sophie Agnel… She is a member of several groups such as Hiatus, Système Friche, Where is the sun, Uruk, Iki, NYX and plays in many festivals in Australia, New Zealand, Canada, United States, Zimbabwe, Russia, Europe. Always interested in the voice, for almost 20 years she has been developing a singular and personal voice technique. A language before language, a voice from the origin. A song that takes its roots as much in the breath as in the cry ... "Listening to Isabelle Duthoit is to experience a voice that says nothing but which updates primary sensations linked to sound, to the intimacy of sound and that we perceive much more by our skin than by our ears", written Lê Quan Ninh. She works regularly with dance and theater Cie Li (luo and Revue Eclair. Isabelle Duthoit was a resident at Villa Kujoyama in Kyoto, Japan in 2008 to study Noh singing, Bunraku recitation and iaido. With Jacques Di Donato she co-directed the Fruits de Mhère festival. Since 2014, she has been leading voice workshops at the Théâtre des Quinconces, l'Espal, the National Stage in Le Mans, and curator of the Paysages d´écoute festival in this same theater.

Irena Tomažin and Tomaž Grom

a collaboration with Sploh Institute of Ljubljana

Irena Tomažin completed her BA in philosophy at the Faculty ofArts in Ljubljana. She is active as a maker and performer in the fields of experimental improvised music and movement theatre. She also teaches voice and movement workshops called moved by voice nationally and abroad. She has released three albums: Crying Game, Taste of Silence, and Lump in the Throat. Her music, more specifically her sound experimentation is an exploration of the landscapes of voice that include words, fragments of texts, (traditional) melodic singing, and other vocal techniques, including humming, clicking, and other sounds made with the mouth that pertain not (only) to the voice but also to the body. Irena performs solo and with a variety of ensembles and musicians. Irena regularly leads workshops on voice and movement. Over the last years, she has given regular workshops in Slovenia and in Berlin, but has also taught in Croatia, Bosnia and Herzegovina, Serbia, Austria, Poland, Belgium, Italy, France, Germany, USA, Japan (in 2009 in Kyoto and Tokyo), and Lebanon. Since 2014 she has been teaching in the frame of the training program The World Is Sound ( in close collaboration with Alessi Castellacci. In 2008/09 she taught contemporary dance technique and in 2007/08 individual courses at the Pre-School Educatiοn and Grammar School Ljubljana. She occasionally also gives voice and movement workshops to the students of the Academy of Theatre, Radio, Film and Television in Ljubljana.

Double bass player Tomaž Grom has performed at festivals in Europe and North America and has composed music for theater, contemporary dance, puppets and films. As a musician, he works mainly in the field of improvised music. He is the founder and artistic director of the Sploh institute (Sound, Performing, Listening, Observing, Hearing), an association dedicated to the production of music and performing arts as well as education and publishing in the sector, based in Ljubljana. He curates the Sound Disobedience music festival, various series of concerts and deals with conceptualizing and conducting workshops in the field of improvisation and electroacoustic music. He is the author of various performances, sound installations and a long-term iMstrument project which consists of recorded sound and video sequences performed by different musicians who develop their individual musical language and are part of a large improvised music scene.

Rational music

Sebastiano De Gennaro, Lecco
curated by the Topolò Institute of Topology

The project could be called “Rational Music” or “Math Music”. The music proposed by Sebastiano De Gennaro, lasting 19’40”, is formed by numerical series. In virtue of the logical and not aesthetical nature of this music, we suggest, to those who enter this “acoustic calculator”, to pause every pre-set criteria of the concepts of beauty and ugliness; to follow the acoustic events as if these were meteors in the summery sky, without knowing from where they have come and were they will end up.

Sebastiano de Gennaro is an Italian multi-percussionist, rumorist, and composer. He graduated in percussion from Giuseppe Verdi conservatory, his teacher was Maurizio Ben Omar. He furthered his studies with the Dutch percussionists of the Royal Concertgebouw at Amsterdam conservatory. His transversal career path brought him to work next to important international artists. During the 20 years of his career he played more than 60 records, moreover he now has six soloist albums and six more with the “Esecutori di Metallo su Carta” ensemble, formed by Enrico Gabrilli and himself.

In the contemporary artistic environment he collaborated - and still is - with Simone Beneventi, Zaum Percussion, Francesco Dillon, Terry Riley, Azio Corghi, Der Maurer,

Dario Buccino, Orchestra Sinfonica Nazionale della Rai, Naqqara Ensemble. Further, he is the co-founder, with E. Gabrilli and F. Fusaro of the discographic series of anti-classics “19’40” LTD”.
As Drummer and percussionist he collaborated with Daniele Silvestri and Baustelle. Moreover, he played along other artists, such as: Vinicio Capossela, Calibro 35, Pacifico, Edda, Le Luci Della Centrale Elettrica and others.

L'heure bleu

Jan Van der Ploeg, Amsterdam
curated by the Dutch Embassy of Topolò

The intensity of the sky and the sun meet twice a day: at sundown in the passage from the dawn to the aurora before sunrise and shortly after sunset ending the day’s splendour. It is a brief fight between sky and earth; between air and temperature; between light and colour. Their contrast thickens everything and the sky is everywhere. It is the triumph of the most charming blue. It is the heure blue. The bright journey in the immense and intense blue, opens a dreamlike dimension and it closes it after a few minutes as every marvel should do.

Inspired by the philosophy of neoplasticism and the De Stijl movement, which was developed and led by his fellow Dutchman Piet Mondrian, Jan van der Ploeg is known for his abstract paintings rendered on canvas and walls. Stripping down painting to its essences of color and form, Van der Ploeg works in black, white, and a rainbow of brightly hued colors, and with a vocabulary of bold, geometric patterns and shapes. He covers canvases with these forms, creating compositions that seem to move. He began working on walls in the mid-1990s, and has since completed hundreds of murals worldwide. Though Van der Ploeg operates within the parameters he sets for himself, he finds freedom within structure and allows intuition to guide his color choices. “It sounds as if it’s very restricted, but . . . a lot is possible,” he has said, a statement supported by his endlessly varied works. In 1997 he inaugurated the Dutch Embassy of Topolò; from that year onwards he has been a precious collaborator of Stazione. The “Heure Blue” is a bright installation which confirms Jan’s attraction for one of the abandoned buildings of Topolò, named the Blue House.

The Memory of Sound and Space

Zahra Mani, Wien - Kanfanar

My piece for TOPOLÒ has been growing, gradually, spreading imaginary acoustic roots, like the routes in fungus networks under the topsoil of a forest, since our visit to Topolò in February 2020. That was the last pre-Covid19 trip we took through a landscape that, until then, we had always taken for granted. Circuiting the Alp-Adriatic route through Austria, Italy, Slovenia and the north-west regions of Croatia for the last 20 years without considering borders or restrictions, the lockdown reminds us of the hard-fought peace that Europe should be protecting, of the lasting significance of the traces of horrific battles in the hills between Italy and Slovenia, which nature is gradually consuming but should never conceal, or at least not as long as humans are around and capable of forgetting. But this piece for Stazione di Topolò, the memory of sound and space, that is gestating in musical incubation, is more abstract and at the same time more detailed, zooming in on microcosms of audible worlds in recordings of the forests and alpine meadows, streams and rivulets, winds and plants and animals. Either in a live performance or in a four-channel sound installation, I will reflect elements of these recordings in the resonance of my bass guitar, translating moods and frequencies or just reacting to, interacting with, the found sound. Whatever happens, the performance and the real-time acoustic ambience will compose each other, the shared moment of listening will be then and there, in a village that lends itself to listening, a suspension of time in a liminal space.

Zahra Mani – field recordings, bass guitar and live electronics

Zahra Mani (UK/PK) was born in London, lives in Austria and spends time in Istria, Croatia, the UK and Pakistan. Sound, installation and radio artist, improviser, composer and producer, Zahra is a multi-instrumentalist whose instruments include piano, double bass, bass guitar and custom-built electronics by Stephan Moore ( Her sound is characterized by a burgeoning archive of field recordings, instrumental and found sounds that she edits, loops, transforms and re-composes as central organic elements of her music in a differentiated exploration of spaces between, where voices, instruments, machines, the sea, wind, rain, animals and landscapes provide the acoustic basis for auditory worlds. Production and live tools include hardware by arturia, motu, roland and various recording devices, software includes pro tools, ableton live, max/msp and various daws. Collaborations include work with Mia Zabelka in various constellations, notably the ongoing project One.Night.Band and trio with Lydia Lunch, Medusa's Bed.


Patrizia Oliva, Pordenone
Beba Fink, Graz

“Belledonne” is a work-in-progress project by Patrizia Oliva (voice, objects, electronics) and Beba Fink (A)(sculptures of light on the surface, diapositive projector on top). The project is born out of the idea to explore natural environments, to study these and create a performance where the auditory research of the place blends with the projection of images of the flora that inhabits said place. The idea is to create an itinerant map which, throughout the journey, could transform every unique experience and make it different every time.

Patrizia Oliva is a singer, autor, improviser of experimental music that crosses electronics, electro-acoustic, free jazz and performing arts. Her research is aimed on a redefinition of contemporary singer. She has played with many musicians, among other with Evan Parker, Gino Robair, Tristan Honsinger, Stefano Giust, Alessandro Bosetti and many others. She played in Italy, U.S.A, Scotland, United, The Netherlands, France, Germany, Spain, Portugal, Switzerland, Slovenja, Croatia, Belgium, Austria and Vietnam. Some places and festivals she has played in: AngelicA (Bologna), Millenium Park (Chicago),Costellation Club (Chicago), Fondazione Mudima (Milano), Limmitationes/Chilli Jazz Festival (Austria), Hanoi New Music Festival (Vietnam), Area Sismica (Forlì), Museum of Modern Art (Ohio, USA), Piccolo Teatro (Milano), ZDB (PT), ZXZW Festival (NL), Fusion Festival (D), The Empire Gallery Galvanised Festival (UK), Spazio O (Milano), Postgarage (Austria) and more. She has recorded an impressive number of albums with several experimental labels such as Setola di Maiale, Afe Records, Sonoscopia, Staaltape, and many more.

The Time of the River

Erica Benfatto, Monfalcone
Silvia Morandi, Bolzano/Bozen

The river sings of time. Time takes us far, in different directions, but it never separates us from the source of our original selves. Surrounded by the landscape and rocky rivers, singer Erica Benfatto and performer Silvia Morandi give back the resonance of nature and memory. Present and ancient evocations, suggested by the stream and the evanescence of personal remembrances, are released through voice, gestures, the dynamism of bodies, keepers and witnesses of traces of memory.

Erica Benfatto
After completing her studies in operatic music, Benfatto decided to get involved in the study of contemporary voice, giving particular attention to improvisation. She has taken part in various projects, collaborating with contemporary poets and artists. In 2019 she was invited to be part of an important artistic project with performer Silvia Morandi in Macro di Roma’s contemporary museums.

Silvia Morandi
She is an actress, performer and dedicates herself to therapeutic dance in Bolzano. She studied at the “Studio Dominique de Fazio”, followed the teaching of Lee Strasberg at the “Actors Studio” in New York, and later furthered her studies in dance with international teachers such as Alice Condodina, Yumiko Yoshioka, Matan Levkowich, Amy Matthews, Thomas Greil. She graduated in therapeutic dance in Bologna. Further, Morandi has put particular attention to site-specific projects, as her artistic research revolves around the notion of place. She examines the relation between body and environment. She constantly collaborates with institutional and independent art galleries and expositions. She has also taken part in many national and international festivals.

Sotto le stelle fredde (Under the cold stars)

a documentary by Stefano Giacomuzzi
(It; 62’; 2019)

Set in the mountains of northeast Italy, this film may be considered an observational documentary about rural life. Although this is undeniably the case, at the same time “Under the cold stars” can hardly be considered a documentary: the microcosm on which it focuses appears to be a reflection of a broader reality and perhaps a way to deal with the themes of man’s existence and his relationship with animals, nature and, most importantly, with time. As written by Franco Piavoli “it is a film which essentially relies on images and sound, where words themselves are sound and the music of life, of the relentless flow of time”.

Graduating at Bournemouth Film School in documentary and filmmaking, at the age of nineteen he began producing his first full-length film, Sotto le stelle fredde. He spent a year at the Fabrica international research centre, where he worked on several projects for Benetton and started making the on-the-road documentary Pozzis, Samarcanda.

Ecouter le monde (Listening to the world)

Monica Fantini_Radio France International, Paris (F)

“Ecouter le monde” is an international, artistic and pedagogic project, created by a web of cultural actors and dedicated to develop people’s listening capacity and practice. In order to do so they created a digital platform, which offers an original experience: it uncovers different cultures of the world through everyday sounds. In fact, we are used to looking at the world, not to listen to it. Still, the call of Dakar’s vendors; the cries of children in a square in Paris; the singing in Rangoon’s pagoda; the sounds of all the languages spoken in Brussels; or the bells of a church ringing at midnight in San Marco, Venice...tell us something about our everyday life, with a summoning force superior to images. These recorded sounds are traces of our humanity.
The digital platform of “Ecouter le monde”, created by Monica Fantin is primarily constructed by:
- An archive of sounds (recordings of the everyday) (
- Acoustic creations are realised with the above-mentioned sounds, called sonorous postcards:(

“Ecouter le monde” enriches itself throughout time and is becoming a place of new encounters and experiences. It is dedicated to professionals and the public. It wants to create a web of actors who work on sound in different areas and zones, this is possible through announcements, the last one was titled: - The dreaming city (

The resistance of Stazione di Topolò, entails the registration of the everyday sounds of farmers of the surrounding hills and the realisation of various acoustic creations. Further, different workshops dedicated to listening, literary, sonorous and visual creations will be set up. These will be in collaboration with the curators of Robida magazine and artists in residence. All the creations realised during this time will be then presented at the festival, published on the website and transmitted on Radio France International.

Monica Fantini is a journalist for Radio France International (RFI, and founder of “Ecouter le Monde” (, a radio transmission and international project dedicated to listening. She made more than a hundred documentaries, reportage and chronicles for “France Culture”, collaborating with programs dedicated to the creation of sound, philosophy and theatre. With the artistic ensemble “Atelier du Bruit” (, she created “Ecouter Paris”, an online sonorous city dedicated to the different cultures of the metropoli told through sound. In Paris she has also collaborated with the “Musée national de l’histoire de l’immigration”, where she made portraits of immigrants and devised an acoustic path following the permanent exhibitions of the museum. She constantly works in the pedagogic sphere, creating sound workshops for children and adults in France and abroad, primarily at the “Cité de la musique-Philharmonie de Paris” and at the national centre for the creation of music “Muse en circuit”.

Andrey Tarkovsky. A Cinema Prayer

a documentary by Andrei A. Tarkovsky

The documentary recounts Tarkovsky's life and work, letting the director tell the story himself, as he shares with us his memories, his view of art and his reflections on the destiny of the artist and the meaning of human existence.


Giulia Iacolutti, Rive d’arcano

In the last years Topolò is the protagonist of a slight demographic growth. If in 2018 the author highlighted with her embroidery the depopulation of the village, this year she proposes “Gestation”, a work on relational art which, contrastingly, wants to be auspicious for the hamlet. In conjunction with Iacolutti’s last month of pregnancy, she will ask the public of Stazione to leave a wish for the future. Thanks to the correspondence with Donatella Ruttar, these sentences will be stamped, without intermission, along a single long ribbon, thus re-constructing the well-known announcement bow.

Giulia Iacolutti, photographer, documentarist, is mainly involved in personal projects between Italy and Mexico. Devoted to narrative research, other than photography, uses different languages and tools to explore political, social and cultural subjects related to the fight for one’s identity and recognition.


Giovanni Maier, Turriaco
Flavio Zanuttini, Cividale

This project is aimed at the exploration of the concept of metamorphosis within music; similar to the well-known xylography of Dutch painter Maurits Cornelis Escher (1898-1972), the structure of “Metamorphosis” is formed by the succession of a series of uniform situations which follow one another using the cross-fade technique, usually employed in music but also in cinema. The two musicians will use this approach both together and alone, sometimes more structurally, other times more freely. Recently the album “Little Nothing” has been made available on the digital platform bandcamp, this has been recorded in lockdown during a video-call.

Giovanni Maier
Composer/bassist Giovanni Maier started his professional career in 1986 at the age of 21, after finishing his formal studies in classical music at the “G. Tartini” Music Academy in Trieste and having pursued independently his personal interest in jazz music.In 1989, he formed his first ensemble to perform his own compositions, and has since recorded over forty albums featuring his work. As a member of ensembles, he has performed in many concerts throughout Europe, in North and South America, Japan, North Africa and the Middle East. As a bassist he features on over 140 albums, including recordings with Enrico Rava, Gianluigi Trovesi, the Italian Instabile Orchestra, Cecil Taylor, Anthony Braxton, Tim Berne, Marc Ribot, Keith and Julie Tippett, Louis Moholo, Giancarlo Schiaffini, Pino Minafra, Roberto Ottaviano, Carlo Actis Dato, Tiziano Tononi, Daniele Cavallanti, Stefano Battaglia, Michele Rabbia, Chris Speed, Scott Amendola as well as with other leading figures in creative music.

Flavio Zanuttini
Named as one of the best italian jazz trumpet players by the magazine Musica Jazz, his sound and approach of Flavio Zanuttini are unique and you can hear it wherever he may be involved: as lead trumpet in large ensembles (Abbey Town Jazz Orchestra, Folkwang Jazz Orchestra, North East Ska*Jazz Orchestra, Udin&Jazz Big Band, Improvvirussoundexperience, Big Tartini Band, L’Insiúm, Das Große Ding, Greetings from Saturn, Naked Musician and more) as soloist and improviser in smaller bands (Francesco Cusa & The Assassins, Mizar Duo, Camatta Monk, Martello, Arbe Garbe, Radio Zastava, Kick the Kid, Le Retour des Oiseaux and more). He played in festivals and clubs in Italy and Europe.

ToBe Continued… 48 concerts in 24 hours.

ToBe Continued, 11th edition. Recording
starting at 00.00 till midnight (GMT+1) on March 24th, 2020 - World TB Day
Sounds from Stazione di Topolò/Global Health Incubator across the World and back

ToBe Continued is an original concert lasting 24 hours (from 00.00 hours to the midnight of March 24th, GMT+1), during which musicians from many parts of the World will be connected to a website that will broadcast their concerts. During this un-interrupted 24 hour marathon (ToBe Continued... in fact) each musician has at disposal a 30-minute window, thus creating a relay of sounds and rhythms that will range from the different streams of the "new music". The event, that will cover the 24th of March, World TB Day, in its entirety, is coordinated by Antonio Della Marina, musician and computer music composer, and Stazione di Topolò/Postaja Topolove. The whole initiative is under the aegis of the Global Health Incubator, the 'laboratory' established in July 2009 by doctor Mario Raviglione, in Topolò, to create links between the world of creativity and that of science. The event has the collaboration with UNIKUM -Culture Centre of the University of Klagenfurt and the patronage of Global TB Programme of World Health Organization and University of Milan. The participating musicians have performed live from many different countries including Cameroun, Zimbabwe, Mali, Egypt, Costarica, New Zealand, Morocco, Malaysia, India, Iran, Mexico, Argentina, USA, Japan, Guatemala, South Korea, Brazil, Australia, Cyprus, Armenia, Russia, Ukraina and many European countries creating a symbolical tour of the world with 48 stops.

Traditional and cultured jewish music for clarinet and string instruments

Quintetto Abimà, Trieste
in collaboration with Viktor Ullmann festival

The quintet is formed by Davide Casali, clarinettist, orchestra director and artistic director of the “Viktor Ullmann” festival; Ernest Coserza, first violin; Paola Veronese, second violin; Cristina Verità, viola; and Cristina Nadal, cello. They are all part of the Abimà orchestra, which for years has been dealing with the research and later execution of jewish classical and traditional music. Many of these musics have been composed by lesser-known authors which have a strong emotional impact, lively but also melodic and moving. The program features the rendition of the quintet for clarinet by Alexander Krein “Esquisses Hebraiques” (popular jewish themes), the quintet by Erwin Schulhoff, Pavana by Aldo Finzi, Jewish Folk Songs by Patrick Loiseluer and, in conclusion, klezmer music. From 1994 Jewish music, traditional and cultures, is presented during Stazione. The researches of Davide Casali, musician and scholar of Jewish culture, have brought back to light the presence of a blooming Jewish community during the past centuries in Topolò.

Pleasure Rocks

Titta C. Raccagni e Barbara Stimoli, Milano
Con Alessia Bernardini, Milano

“Pleasure Rocks” is a research which explores the relations between matter and body, organic and synthetic, human and inhuman, pleasure and rocks. The title plays with the word rock to talk about pleasure - pleasure is good, it rocks - and to tell about other possible pleasures. “Pleasure Rocks” distances itself from the idea of the anthropic pleasure and proceeds without making distinctions nor categorisations between human and nature: it moves through the time of exploration and perception, of healing and (re)connection of bodies, these either made of blood or minerals. The installation made for Stazione di Topolò tests the creation of an immersive landscape: a space of encounters and inter-actions between matters. Organic and synthetic bodies move, stand, roll over, touch each other, become sensitive bodies. A dilated time, the pleasure of synthesis. Listening.

“Pleasure Rocks” is a collaboration between the Pornopoetica project by Titta C. Raccagni and Barbara Stimoli and the visual artist Alessia Bernardini: it is a publication, and installation and a workshop.

1420, Patriarchy of Aquileia_Serenissima

Sergio Zilli, Trieste
Angelo Floramo, San Daniele

This year in Friuli we celebrate the 600th year of the transfer of power from the Patriarchy of Aquileia to the Serenissima Republic of Venice. On our territories, Valli del Natisone, the year 1420 marked an important change which, however, left this bordering area uniquely untouched. “The other side”, at the time, was called “County of Gorizia '', which later became Austrian Reign and Empire and, even later, Republic of Yugoslavia, the East today is the Republic of Slovenia. But that border… is always there.

Two experts will tell us about the changes which the transfer of power brought about and of the nature of the border. Professor Sergio Zilli, from the University of Trieste, thoroughly researched the eastern border and with him, on September 6th, we will go on the line of the border, to Javorca. The other voice is the one of Angelo Floramo, expert of the relations between Friuli and the surrounding regions. The meeting with Floramo will take place on September 12th.

Fades_Sonorous constellation on the harmonic series of 3_5_7_11_13

Antonio Della Marina, Udine

Antonio Della Marina is an Italian electronic composer and sound artist, who has focused on working with sinusoids for more than two decades. Clearly influenced by the minimalist avant-garde of the American east coast in the sixties and seventies, his work exploits the physical properties of sounds and the use of microtonal tuning systems. Della Marina uses mathematical abstractions and custom built sound generators to shape his compositions which are offered in the form of sonorous sound sculptures. Since late nineties he is active in sound art through concerts, lectures and sound installations. His works has been exhibited in art galleries and international festivals including Angelica Festival, Experimental Intermedia and Issue Project Room in New York, the Prague Quadriennal, the Logos Foundation in Ghent, Fundaciò Phonos in Barcelona, Lydgalleriet in Bergen. He is musical director of the Topolovska Minimalna Orkestra. With Alessandra Zucchi has created the sound art gallery Spazioersetti, in Udine and the international festival Il suono in mostra.

I-Stanze, play/video/work on an online platform

by Enrico Gabrielli/19'40"/Effetto Larsen

It would have been a board game if we had a table to share.
Now, during the time of social composure, the table is a disordered image.
There is a time for action, there are visual and sonorous gestures, objects to move.
Objects we commonly use like our cell-phone, computer, colored cardboards, a reflective surface, one’s own face.
The overall outcome is out of the reach of the single person: only after having completed the time of the play one can watch the film apparatus in its entirety. And in its sacred futility.
The forced distance of the single person was a request, a rule imposed without the benefit of the doubt.
The only ways one could elude distance were interaction and time.
The only benefit technology and mass communication can give us is the ability to delude time that distance has a creative liveliness. To look at things from a distance was useful once; now it is equivalent to not seeing at all.
Our body, a few months ago, was becoming the room it was contained in.

Instruction for the agents:
There are 12 parts for 12 agents. But if the participants we can double these (that is, more people do more marts). It is not necessary to be a musician. The parts can be given randomly ( I myself will take part in one). There cannot be spectator: the performance will take place on zoom (for these reason you will need an account able to last 45’/60’ without interruptions). The important thing is that everyone has the following objects:
- a stopwatch either online or on the computer (like this one
- music of your choice
- a text of your choice
- 4 colored cardboards (red, blue, yellow, green)
- a “real” picture
- a mirror or other reflecting surface
- something to make noise

Born in Montevarchi (Arezzo) and graduated with the highest marks in clarinet at “Giuseppe Verdi” Conservatory in Milan, enrico Gabrielli is a multi-instrumentalist, compositor, arranger, music producer and writer. He is among the founders in 1996 of the “Ensemble Risognanze” with whom he plays contemporary music, other than with the “European Music Project” of Ulm and the “Sonata Islands”. He takes part in many performances and audiovisual installations. Further he decided to deal with popular music, with the goal to raise awareness on a music which is commonly called “consumption music”. In 1999 he created the “Mariposa”, in 2007 the “Calibro 35” and in 2016 “The Winstones”. He is a permanent participant of Mike Patton’s project “Mondo Cane”, a project which re-proposes italian songs of the 60’s for big ensambles. After participating in the recordings at the “Somerset house” in London in 2015 he became part of a band that took him on a worldwide tour for two years: The Hope Six Demolition Project by PJ Harvey. He collaborates also with Afterhours, Baustelle, Vinicio Capossela, Dente, Zen Circus, Morgan, Nada, Daniele Silvestri, Niccolò Fabi and has played with important international artists. With the double bassist Sebastiano De Gennaro and the musicologist Francesco Fusaro and the social manager Tina Lamorgese he started a discographic chain on subscription about “anti-classics” of the 19’40” music ( This new editorial subject allowed him to start again a close relation with cultured music, but with an experimental and innovative vision, aimed at distribution and audience development. In a few spaces designed for the listening of popular music he organised, often in collaboration with Sebastiano de Gennaro, expositions of cultured music with the scope of decontextualizing listening and of giving back to an un-classes public this “new” music.

Stories From the Chestnut Woods

Gregor Božič
It/Slo; 85’; 2019

Late 1950. In a distant valley on the border of Italy and Yugoslavia, in order to escape poverty after the war and from the growing political tension between the two countries, people abandon their villages one after the other. Those who are left behind are mainly the elderly, who live in small houses made of rocks in dark forests, and with them their archaic ideas of life, their stories and myths.
Freely inspired from Ceckov’s tales and fables of the Slavic-Venetian tradition (Valli del Natisone, on the border between Italy and Slovenia), the movie is a tale on isolation, solitude and regrets, but also on the capability of looking at the world beyond its apparent reality.

Gregor Božič was born in Šempeter, Slovenia, and studied at the Academy of Theatre, Radio, Film and Television in Ljubljana and the DFFB in Berlin. He has directed the short films Hey Ho, Comrades (2007) and Shoes from Trieste (2014). Stories From The Chestnut Woods (2019) is his feature debut.


videos made during the time of the lockdown

Yes, the lockdown has wounded and annoyed us, but there are also those who took this unreal occasion to create small and thematic works of art. In Topolò, where life during these months has been less heavy than in other places, we will show in closed spaces some videos made by artist who are present during this edition: Tomaž Grom, Elena Rucli and Marco Mucig and confined respectively in Lubiana, Topolò and Milano.

Zaklep 01 / I am here, by Tomaž Grom
Zaklep 02 / Tehno, by Tomaž Grom (text by Ana Pepelnik)
Zaklep 03 / Going Out, by Tomaž Grom
Coronavirus diary, by Marco Mucig
The life before, by Marco Mucig
Isolamenti, by Elena Rucli

The Theory of Empty Villages; Mauro Daltin, Udine

Voci dalla Sala d’Aspetto_Glasovi iz Čakalnice
curated by Antonella Bukovaz

Born in 1976, in Friuli, has been working in publishing for a few years as an editor. He has founded and directed “Pagina Zero - Letterature di frontiera” a magazine which comes out every four weeks. He has published “L’eretico e il cattolico” an interview to Elio Bartolini (Kappa vu) for “Touring Editore”, the guide for Friuli Venezia Giulia; and in 2009 a series of stories “Latitanze” (Besa). In 2010 he has curated with Lorenzo Stoppa the agenda-book “Ciclomundi”. The diary of the traveller on foot (Ediciclo). In 2013 he has published, again for Ediciclo, “Officina Bolivar”, southamerican stories of destinies, dust and skies turned upside down. He curates creative writing classes tied to the subject of travel, reportage and short narrative. He is a professor of travel writing in the Editorial Master at the Cattolica University of Milan. He is the creator and president of the “Associazione culturale Bottega Errante”, which organises cultural events and workshops. The theory of empty villages is his most recent book (Edicilo).

ToBe Continued 2018 - nona edizione

registrazione effettuata il 24 marzo 2018-World TB Day

Il 24 marzo, Giornata Mondiale per la Lotta alla Tubercolosi, ritorna, ed è la nona edizione, ToBe Continued.
Si tratta di un "concerto" dall’aspetto assai originale, della durata di 24 ore (dalle 00.00 del 24 marzo fino alle 24.00 del medesimo giorno), durante le quali diversi musicisti sparsi in vari punti del pianeta si collegano a un sito internet per trasmettere, dal vivo, la loro musica. Il tutto in un flusso continuo, senza alcuna interruzione, a staffetta. Ogni musicista ha a disposizione 30 minuti. Data non casuale quella del 24 marzo, da anni Giornata Mondiale per la Lotta alla Tubercolosi.
I concerti provengono da Cina, Nuova Zelanda, Corea del Sud, Thailandia, USA Giappone, Guatemala, India, Egitto, e ancora: Costarica, Argentina, Camerun, Marocco, Turchia, Australia, Sud Africa, Brasile, Iran, Russia, Georgia, Armenia, Svezia, Bielorussia, Gran Bretagna, Olanda, Slovenia, Serbia, Macedonia, Transnistria, Bulgaria, Cechia, Norvegia, Germania, Spagna, Belgio, Islanda, Portogallo, Romania, Austria, Albania, Francia, Grecia e Italia per un totale di 43 nazioni. Di fatto, un simbolico giro del mondo in 48 tappe sonore.
Il progetto è reso possibile dal sostegno di Sanofi e dalla collaborazione di UNIKUM - Centro Culturale dell’Università di Klagenfurt che ospita sicamente il quartier generale del progetto. ToBe Continued ha il patrocinio del Dipartimento Global TB Programme dell’Organizzazione Mondiale della Sanità.

(The rhytm from) The rehersal room. Intimate concert for distancing and barrels

Les Tambours de Topolò

Since twenty years Stazione has had a fixed date: the concert of Les Tambours de Topolò. The group was born in 2000 after a workshop done during Stazione for the youth of the village. Inspired by the famous Tambours du Bronx and armed with sticks and 25 liters metal can, the ones we find outside garages, the Tambours have perfected their sound throughout the years, following the lead of percussion teacher playing different music genres (Tom Hmeljak, Nello Da Pont, Daniele Vineis, Primož Oberžan, Emil Kristoff, Francesco Cusa) to then become autonomous, with music pieces and performative activities of their own which brought them to perform in various Italian and European cities.

Mini Tour Experience. Topolò/Topolove

Alessandra Celletti, Roma

Mini Tour Experience is a "crazy" project that goes well with the Station. Alessandra Celletti, a Roman pianist, brings her toy piano for a very special Friuli tour. It involves performing small concerts, even in the absence of the public but documented with the video, in the vicinity of fresh and salty waters of Friuli. The idea, supported by the Topolò Station, was born in Alessandra from her passion for the toy piano, an instrument that stimulated authors such as John Cage, George Crumb, Mauricio Kagel and Celletti herself. At the mill of Topolò, the pleasure of being the first place chosen for the tour.

Alessandra Celletti, has a musical background that stems from a pure classical base developing in a genre which is barely identifiable in some stereotype or pre-existing cliché. Her musical and artistic experiences detour into a very personal and creative musical world, turning the attention primarily to the color of sound and the dynamic balance between the notes. Hard to label and difficult to catalog in orthodox ways, she's able to move transversely from one genre to another with only one inescapable common denominator: the piano. She has recorded many albums in which she interprets different musical genres, from Scott Joplin to Gurdjeff, from Philip Glass to Satie, Ravel, Debussy as well as her compositions. Alessandra Celletti's music is a kaleidoscope in which the various nuances of her art of composition find space, an imaginary visual and audio world, that with tenacity and tireless, swirling enthusiasm, Alessandra chooses to represent.

The Whale and the Leaf

Michele Obit, Udine

He is the director of the weekly bilingual newspaper of the Slovenian minority in Italy, “Novi Matajur”. As cultural curator he has collaborated since 2018 with the realisation of Stazione di Topolò/Postaja Topolove, the project of residence for writers and poets “Koderjana” and the literary meeting “Voci dalla sala d’aspetto/Glasovi iz cakalnice”. Since 1998 he has taken care of literary translations from Slovenian to Italian. He published many poetical collections: Notte delle radici (1988), Per certi versi / Po drugi strani (1995), Epifania del profondo / Epiphanje der Tiefe (2001), Leta na oknu (2001), Mardeisargassi (2004), Quiebra-Canto (2004), Le parole nascono già sporche (2010), Marginalia/Marginalije (2010) and the plaquette Un uomo è anche un aratro (2015). He curated and translated two anthologies of two young Slovenian poets: “Nuova poesia slovena” (1998) and “Loro tornano la sera” (2011), both published by Editoriale Stampa Triestina (ZTT EST) and poetry and novels by Kosovel, Boris Pahor, Miha Mazzini, Brane Mozetič, Aleš Šteger, Florian Lipuš, Nataša Kramberger and Gabriela Babnik. “La Balena e le Foglie” (Qudu, 2019) is his most recent publication.


Sound installation by Alessandro Fogar

Drift/Trace, is a study on the musicality of surfaces, seen like a score for a sort of electro-acoustic “orchestra”. Continuing a personal research on surfaces, now almost for a decade, developed mostly for Stazione, the project is articulated in two phases: a preparatory phase, dedicated to the study of surfaces, the external walls of Topolò, which will be employed for the project; a second phase consisting in the preparation of a system which, created for this purpose for Stazione, “digitalises” any wall of the village and produces a music “played” by the wall itself. The process of reading/interpretation of the score printed on the wall happens directly, live, through a pointer which shows in that moment where we are in the score. Like a memory of places, sound is originated in the wall and does not impose a message, a narration, but strictly derives from the traces of time left on the surfaces and becomes part of that same environment, enriching it and not abusing it. The viewers are invited to participate by placing themselves in the proximity of the wall and later, with the pointer, pointing on the position of the score; abandoning themselves to the suggestions originated by the walls which will be “interpreters”; imagining old memories and traces left by time and nature in their drifting and their transformation of sound.



Katinka Dimkaroska – Flauto Tidldibab - Tapan
Mauro Bon – basso el. - sound scapes - percussioni -voci -ebow
Sandro Carta – Tromba – soundscapes

                                La nostra trilogia musicale rappresenta un omaggio all’uomo di Neanderthal, che 35 – 40 mila anni fa affrontava l'ultimo periodo della sua esistenza terrena convivendo con l’homo sapiens, prima di scomparire definitivamente in un tempo relativamente breve. Nato con l'idea di realizzare un paesaggio sonoro in grado di evocare la vita di una comunità preistorica. È scandito in tre distinti momenti temporali - il pomeriggio, la sera e il giorno seguente - ciascuno animato da differenti sonorità in cui riverberano, fondendosi con la natura circostante, alcuni suoni ambientali: la foresta, i versi degli uccelli e degli insetti che la abitano, la convivialità umana attorno al fuoco.

  La performance di Topolò sarà caratterizzata dalla presenza di Katinka Dimkaroska, musicista di Ljubljana, di origine macedone, la quale suonerà la copia esatta del flauto originale ricavato da un femore di un orso speleus, e ritrovato negli scavi delle grotte di Divije Babe (Idrija – SLO) frequentate dall'uomo di Neanderthal. Si ritiene possa essere lo strumento musicale più antico mai ritrovato a livello globale.

Giovanni Maier: violoncello
Filippo Orefice: clarinetto

Maier e Orefice collaborano da anni e hanno lavorato a lungo sull'improvvisazione in vari contesti: micro-cellule tematiche, jazz standards, racconti letterari e film muti musicati... Per questa particolare occasione, eseguiranno e svilupperanno improvvisando alcuni brani di Maier con una strumentazione diversa da quella loro usuale (sax e contrabbasso): clarinetto e violoncello.

Giovanni Maier, contrabbassista e compositore di fama internazionale. Ha suonato con Enrico Rava, Cecil Taylor, Anthony Braxton, Roswell Rudd, Richard Galliano, Gianluigi Trovesi, Massimo Urbani, Giancarlo Schiaffini, Franco D'Andrea, Han Bennink, Ernst Reijseger e moltissimi altri. Dal 2006 insegna Contrabbasso e Musica d'insieme ai "Seminari Senesi di Jazz". Dal 2009 è docente di Jazz presso il Conservatorio "Tartini" di Trieste.

Filippo Orefice ha collaborato con Don Menza, Marc Abrams, Bjram Istrefi, Sam Kulik, Zlatko Caucig, Chris Jennings, Pierre Allain Tocanier, U.T.Gandhi, Mellow Moods, Leroy Emanuel e molti altri musicisti europei. Vincitore di numerosi premi internazionali per il suo strumento, il sax e come compositore di musica per il cinema.

Jan Vysocky

Spirit of the place
an amplified sound experience of different sites in and around Topolò

Il termine "spirito del luogo" è sempre stato parte importante per le culture tradizionali del mondo ed è stato dimenticato dalla mentalità di un mondo bipolarizzato tipica del dopo guerra; è solo di recente che siamo riusciti a riscoprire, attraverso un approccio scientifico, il suo significato in relazione all’esperienza umana e alla vita all’interno di un luogo.

"Non credo in un Dio... ma credo nella natura e sono qui per proteggerla." Uno degli ultimi abitanti della vecchia generazione di Topolò.

I microfoni possono essere usati come attrezzi scientifici per misurare la cosiddetta "realtà oggettiva", ma allo stesso tempo sono anche strumenti per la creazione artistica. Meditando tra i suoni dell’ambiente in luoghi particolarmente energetici, possiamo aprire i nostri attrezzi personali - le orecchie e la coscienza - all’esistenza circostante e a quella interiore.

Regitrazione effettuata con un sistema di microfoni altamente sensibili ai suoni dell’ambiente nel settembre 2017 ed utilizzata per i suoni del film Stories of the Chestnut woods girato in Benečija.

Jan Vysocky è nato nel 1981 nella vecchia Cecoslovacchia ed è cresciuto in esilio in Austria. Ha seguito corsi all’istituto di elettroacustica e all’accademia di arte applicata di Vienna. Jan ha cominciato presto a collaborare con registi francesi e nel campo della danza contemporanea e dell’arte. Come compositore e artista sonoro ha prodotto molte colonne sonore e progetti sonori per film di fiction e documentari, ma anche per teatro e danza.
Dal 2010 vive a Parigi, collabora con Arden Day ad un progetto intitolato "Unbehagen" che utilizza pianoforte e ghironda, sviluppatosi poi nel quintetto di improvvisazione "Pancrace". La loro ultima incisione è stata selezionata come miglior album del 2017 dalle riviste "The Wire Magazine", "Chicago Reader" e "Soundohm".

Stiamo scomparendo - Viaggio nell'Italia in minoranza

un reportage a cura della rivista CTRL

Un viaggio dal Salento al Monte Rosa, nei luoghi d’Italia in cui la lingua madre non è l’italiano.
Abbiamo incontrato gli ultimi parlanti della lingua walser, nelle alte valli del Piemonte. Gli occitani, nel torinese e nel cuneese: la loro lingua è quella degli antichi trovatori. Siamo sbarcati sull’isola di San Pietro, nel sud della Sardegna, dove si parla il tabarchino. Siamo stati in Basilicata, nei territori degli arbëreshë, i discendenti delle popolazioni che nel XV secolo emigrarono in Italia dall’Albania. E nei piccoli paesi della Puglia dove sopravvive ancora oggi il grico: una lingua che, forse, resiste fin dai tempi delle antiche colonie della Magna Grecia o che, forse, è stata esportata nel Medioevo dall’Impero Bizantino.
Cinque reportage firmati da cinque scrittori: Franco Arminio, Viola Bonaldi, Nicola Feninno, Valerio Millefoglie, Mirco Roncoroni.
Un’ampia sezione fotografica con gli scatti di Emanuela Colombo. E sette contenuti speciali, che raccontano il rapporto tra lingua e identità nei territori dell’Italia meno raccontata, a cura di Gionata Giardina, Davide Gritti, Alessandro Mininno, Gianni Miraglia, Alessandro Monaci, Luca Perri. Stiamo scomparendo – Viaggio nell’Italia in minoranza è un libro di reportage narrativo e fotografico. Una narrazione a più voci che nasce dall’esperienza di CTRL magazine. E dalla passione per le storie fuori dai radar.

Playing men

un film di Matjaž Ivanišin
60’ - 2017

Playing man è un film giocoso sul gioco, sulla bellezza dei giochi e dei giocatori.
In un tempo che può o non può essere nostro, l’uomo gioca, serio, ma con spensierata gioia da qualche parte nel Mediterraneo. Lottare, far rotolare una forma di formaggio tra le strade di un paese o ripetere rapidamente i numeri giusti sono occupazioni di grande importanza. Il regista riprende tutto con seria leggerezza fino al momento in cui incontra un blocco creativo. Per continuare, ha bisogno di cambiare le regole del gioco.

Presentano il film a Topolò il regista Matjaž Ivanišin, la produttrice Marina Gumzi e forse altri membri della troupe di passaggio.

Matjaz Ivanisin è regista e scrittore. Ha studiato alls Scuola Nazionale Slovena del Cinema.
Corti : Che Sara (2002), Quick View (2005), Šentilj - Spielfeld, a Border Crossing (2009), Karpotrotter (2013), Little Houses (2014),  Lungometraggi : Every Good Story is a Love Story (2017)

Suono e Risonanza

TMO live in Arnoldstein
regia di Niki Meixner

Non poteva mancare, nell’anno della XXV edizione, la presenza di Unikum, il Centro Culturale dell’Università di Klagenfurt, con il quale la Stazione è gemellata fin dalle prime edizioni. Con i coordinatori di Unikum, Emil Kristof e Gerhard Pilgram, abbiamo vissuto e imparato un modo semplice e nuovo di proporre l’arte, spesso camminando. Con loro, da alcuni anni,è Niki Meixner, regista e coreografo, che ha diretto il video che immortala la nostra Topolovska Minimalna Orkestra impegnata in InC di Terry Riley, ad Arnoldstein durante il recente progetto Suono e Risonanza. Un dono in video da questo impareggiabile centro di cultura viva di Klagenfurt.

Giulia Iacolutti

Paesaggio sociale // Paesaggio visibile

Se la conformazione degli spazi influisce sulla costruzione/decostruzione dell’identità, analogamente sono i processi sociali a conformare gli spazi stessi. Con un’azione performativa di 8 giorni, che prevede il ricamo di un presunto schema urbanistico di Topolò, basato sull’analisi delle mappe catastali dal 1500 a oggi e degli alberi genealogici delle famiglie del paese, Giulia Iacolutti desidera favorire i processi di appropriazione e riconfigurazione dello spazio, incentivando una partecipazione attiva basata sull’interazione creatasi coi passanti. Il lenzuolo sarà infine esposto sul balcone per celebrare la "virtù" del paese.

Giulia Iacolutti, fotografa documentarista, si dedica principalmente a progetti personali tra Italia e Messico. Dedita alla ricerca narrativa, oltre alla fotografia, utilizza differenti linguaggi e supporti per esplorare temi di natura politico-socio-culturale relazionati alle lotte di resistenza identitaria.

The Original Klezmer Alef Band

clarinetto e voce: Davide Casali
fisarmonica: Manuel Figheli
basso elettrico: Saverio Gaglianese
chitarra: Tiziano Bole

Il gruppo si propone di eseguire la musica klezmer cioè la musica degli ebrei che abitavano e vivevano fin dal XVI secolo d.C. nell’Est Europa.
La parola klezmer deriva dall’ebraico e significa "strumento da suonare". E’ la musica che per eccellenza veniva, e viene suonata tuttora, nelle feste e nei matrimoni ebraici e, talvolta, anche in quelli non ebraici, con forte disprezzo da parte dei religiosi che si infuriavano con queste bande di veri e propri musicisti di strada. Il più delle volte imparavano a suonare dai propri genitori che spesso tramandavano le musiche oralmente. Per questo motivo non esiste un repertorio preciso di questa musica, comunque la musica klezmer è la prima forma ufficiale di world music, ovvero abbraccia molti paesi come la Russia, la Polonia e anche la Grecia. Intorno al 1920, una massa consistente di ebrei si spostò in America ridando vita a questa musica e contaminandola, reciprocamente, con il Jazz.
Il gruppo strumentale e vocale "The Original Klezmer Ensemble", nato per volontà di Davide Casali nel 1993, ha suonato nei maggiori festival italiani di musica klezmer ed è stato invitato come miglior gruppo klezmer italiano negli Stati Uniti, in Germania, Croazia e Slovenia. Il concerto è una tappa della V edizione del Festival di musica concentrazionaria "Viktor Ullmann".



Fajnabanda, nata nel 2016, è composta da insegnanti, personale non docente, genitori ed ex allievi della scuola bilingue di San Pietro al Natisone. Il nostro repertorio spazia da Nada a Srečko Kosovel, dagli Europe ai canti popolari. Motivi per cantare non mancano nella ricca tradizione musicale delle Valli del Natisone. Al di là delle parole, al di là dei confini, al di là del reale e dell’immaginario, c’è il canto che ci accudisce, ci esalta, ci rigenera e ci poetizza.

"Dove la parola manca, là comincia la musica; dove le parole si arrestano, l’uomo non può che cantare". Vladimir Jankélévitch.

Canary Pipe

Irene Brigitte, voce e chitarra acustica
Ilaria Fantin, arciliuto e voce

I Music Club sono sempre più frequenti nella Londra del fine ‘600, in un contesto dove la pratica e la fruizione della musica cosiddetta "colta" usciva dalla corte. Il concerto non era quindi più per pochi eletti ma per quelli che desideravano ascoltarla, magari sorseggiando una bevanda in compagnia. Questo è lo spirito con cui Irene Brigitte e Ilaria Fantin propongo un repertorio che tocca in gran parte il ‘600 ma che raggiunge i club dei giorni nostri. Diversi sono infatti gli incontri tra il mondo del cantautorato-folk e la musica antica che in questo concerto verranno raccontati e interpretati. Un repertorio che riporta in luce le figure di grandi compositori barocchi e le confronta con importanti esponenti del nostro secolo (Nick Drake, Beatles, David Bowie..), raccontandone le connessioni.
Un duo nato da poco che vanta, di recente, la partecipazione alla Stanza della Musica di Rai Radio3.

Irene Brigitte, dal 2013 comincia ad approfondire la musica antica e si iscrive al Corso di canto rinascimentale e barocco del Conservatorio Pedrollo (Vicenza). Ha cantato come solista e corista in diverse rassegne tra cui Mese della Musica al Duomo di Milano, Conversazioni al Teatro Olimpico di Vicenza,Trento Musica Antica, Hausmusik – Wunderkammer, Antichi Suoni alle Gallerie d'Italia e Itinerari cameristici di Trento. Ha inoltre preso parte alla nuova edizione della messa “Se la face ay pale” di Guillaume Du Fay, diretta da Claudia Caffagni, pubblicata nel 2017 da Amadeus.

Ilaria Fantin si è laureata in liuto presso il Dipartimento di Musica Antica del Conservatorio A. Pedrollo di Vicenza, ha terminato la specializzazione con il massimo dei voti al Conservatorio E.F.dall’Abaco di Verona. Svolge intensa attività concertistica in Italia e all’estero, interessandosi ai vari aspetti della musica antica attinenti al proprio strumento, ed eseguendo brani che vanno dal periodo medievale a quello rinascimentale e barocco. Ha partecipato ad importanti festival in tutta Europa. Lavora come unica musicista allo spettacolo ‘Il Sangue’ con il regista Pippo Delbono e la cantante Petra Magoni. Ha un progetto in duo con Petra Magoni e un repertorio di musica sacra che ha debuttato con due concerti a Quito, in Ecuador, oltre al duo di musica tradizionale Quintana, con la strumentista praghese Katerina Ghannudi all’arpa tripla e voce.


Elena Rucli and Paolo Giangiulio

The rules are few: one word a day, the same in Topolò and in Trento. And the word brings out the drawing. An outburst and a release. 21 cm in height and 14.8 cm wide, really precise for Elena, always a few millimeters more or less for Paolo.

A new space in which to reflect, have fun, rest and experiment.
A new space in which to spend the days of our isolation.
Unaware that the drawings would be found at the Station, the meeting place par excellence.

Remains - Confessions to the Ghosts

Niko Novak and Matevž Jerman

A poet's gaze to his world that's fading. A ghost story in eleven songs. Remains - Confessions to the Ghosts is a music album that exists solely as an experimental film. It is also an experimental collage that's trying to find it's narrative throughout the unused footage of another film, Mother by Vlado Škafar (on which Niko Novak worked as a production designer). The result interweaves impressionist imagery with poetry into a tale of memories, relationships, beauty and death. "Mama" is a movie which involves Topolò and which, we can say, is also a child of Topolò and Stazione. One of the two actresses, Vida Rucli, is from Topolò. Moreover, part of the shooting was in done in Topolò and other "non-protagonists" were met during Stazione by the director Vlado Škafar.


concerto per arpa di Emanuela Battigelli

In una piovosa sera del luglio 1997, in un fienile di Topolò, la Stazione ospitò il primo concerto pubblico di una giovanissima arpista friulana. Alla sua domanda se qualcuno fosse in grado di leggere la musica per girare le pagine degli spartito, si alzò un uomo dal fondo del fienile che svolse correttamente quell'incarico per tutto il concerto: era Alvin Curran. Ventuno anni dopo, carica di successi ed esperienze, Emanuela ritorna a Topolò con un programma che comprende anche due prime esecuzioni assolute.

Emanuela Battigelli è nata a Gemona del Friuli nel 1980. Ha avuto il privilegio di collaborare come arpista di alcune fra le più importanti orchestre a livello mondiale quali Berliner Philharmoniker, London Philharmonia ed Orchestra del Teatro alla Scala, sotto la direzione di Maestri come Daniel Barenboim, Simon Rattle e Kirill Petrenko. La sua carriera solistica e cameristica l'ha portata a suonare in prestigiose rassegne come Festival di Aix en Provence, Verbier Festival e Biennale di Musica Contemporanea di Gerusalemme, ed eseguire concerti per arpa ed orchestra insieme all' Orchestra Sinfonica Nazionale della RAI, The Israel Chamber Orchestra ed altre. Nel 2013 ha eseguito in prima esecuzione assoluta per Radio RAI brani originali per arpa di Germaine Tailleferre. Nel 2014 la casa discografica Artesuono ha pubblicato l'album digitale Tailleferre - Britten – Hosokawa che include la prima registrazione assoluta di lavori per arpa di Germaine Tailleferre e delle Two Japanese Folksongs per arpa di Toshio Hosokawa. Dal 2015 collabora con l'Ensemble Prometeo, eccellenza italiana nell'ambito della musica contemporanea.

The Circle of Harmonic Overtone

Björk Viggósdóttir, Kòpavogur (IS)

Björk Viggósdóttir will be researching the harmony and contrast between nature and the man made technology. And frequency of nature harmonic overtone. In a lyrical meditation form, the viewer can watch and interact with soundscape and natural and man made forms. With the work of art, Björk touches the questions about nature and technology. The work focuses on nature, the man made technology and explores the harmony and contrast between them. The viewer completes the poetic picture, Björk Viggósdóttir trusts the viewer to visualise the visual poetry and close the circle.

Björk Viggósdóttir (b. 1982) , lives and works in Reykjavik. She obtained a BA degree in visual arts from Iceland Academy of the Arts in 2006. Björk studied teacher art education at Icelandic Art Academy of Arts and MA degree in applied cultural media studies at the University of Iceland. She has held solo exhibitions in Iceland and abroad as well as participated in several group exhibitions in USA , Europe, Asia, South America. Björk Viggósdóttir has had a solo exhibitions in Gallery Þoka 2013, Reykjavk Art Museum 2011 and Hafnarborg The Hafnarfjördur Centre of Culture and Fine Art 2013. In her Artwork Björk works in different media and combine them together so the viewer can use all their senses to experience the artwork. In her previous works Viggósdóttir creates installations that evoke certain perceptions of space. They often require viewer participation and encourage them to retreat from logic thinking and the tangible reality and unleash their imagination. the Björk frequently collaborates with composers, musicians and dancers in her exhibitions.


Cure for humanity. A sound bench
An installation by CoH

A project by Stockholm Konst and Audiorama in collaboration with Spazioersetti - Continuous cultural association. Ljudbänken is a project born from the collaboration between the Swedish institutions Stockholm Konst and Audiorama, which happened in itinerant stop-overs from November 2017 until June 2020. A sound bench which to this day has hosted 6 international artists and has been placed in just as many parks or landmarks in Stockholm. Like Spazioersetti before us, we have decided to “adopt” this project and to bring it to Udine and the surrounding areas. We are very pleased to inaugurate this new collaboration in Topolò, once more a starting/arrival point for art, language and cultural migration. After Postaja, the sound bench will be moved to Udine, where it will be part of an exposition for a few weeks during the “Il Suono in Mostra” fair.

CoH is the musical alias of Ivan Pavlov (Иван Павлов), a Russian-born musician, sound artist and engineer. He has lived in Sweden since 1995. After moving to Sweden, he adopted the alias CoH which can be read in both the Cyrillic and Latin alphabets. It means sleep or dream in Russian. CoH worked with singer Annie Anxiety, with Cosey Fanni Tutti, with American artist Richard Chartier (under names Chessmachine and Nice Box) as well as with the British band Coil. Together with Peter Christopherson from Coil he launched the band Soisong in 2007.

Stockholm Konst:


Harvesting Shadows

Workshop with Francesco Zoboli

It’s summer, it’s night, the moon is silver, the space expands in the silence. On the ground between herbs and leafs lays a drawing. It’s already there, we only have to pick it up.

This workshop will develop within paths and the woods, during night. We will gather on big papers the shadows of plants and trees. We will do so only by using white paper and black colour. Later, all the works will give way to a new collective vision of the forest.

All the participants will have to organise a personal work-kit, easy to carry around, during the workshop, like a small bag. The paper will be provided on the spot, so I suggest these basic tools:

1 flashlight or phone-light in order to create the shadows (selfie-stick will also be useful)
1 little tube or tin (like polycolor) with acrylic or BLACK tempera
2/3 panels of different sizes, up until 3/4 cm
1 canteen or such, in order to contain the water for the colour mixing
1 spoon for the extraction of the colour from the tin
1/2 ample recipients to contain the colour
various cloths, an apron
Anyone can add other tools when considered useful, like charcoal or BLACK chalk
EVERYONE can participate (max.25 ppl)

Cascading Lights

video-installation by Michael Delia

My proposal for Stazione di Topolo 2019 is a video and sound installation created from video of the waterfall in Topolo recorded during my 2018 residency. The installation recreates/transforms the experience of the light and sound of the waterfall, projecting light and transducing sound vibrating onto strings, amplified to reverberate in the space.

Walk Through the Woods to Discover the World of Lichens

led by Deborah Isocrono

Lichens are “community” organisms, born from the symbiosis of different partners (mushrooms, algae, cyan-bacteria) which live together and give life to a surprising and fascinating ‘unicum’. It can be said that they are an almost unknown “microcosm”, which occupies a specific place within the ecosystems and which deserves a protection equal to its interestingness. The principal architecture of this symbiotic organism is supported by a mushroom, which protects its chlorophyll partners from dehydration and from solar radiation, which on its turn produces all the sugary nutrients. They need little: light, mineral salt and some humidity. They are pioneers: they live in almost all latitudes and endure nearly all climate conditions, with their growth they destroy rocks and create fertile land for plants. During droughts they survive by stopping their metabolic processes, which are then reactivated during the first fog or rain. Quietly, they grow on every kind of natural and artificial substratum, in urban and uncontaminated habitats; they provide nourishing refuge and rest to many invertebrates, but also for some big mammals, they are used by birds in the construction of nests too. The relation between lichens and men is ancient and it extends from art, dye-works, perfumes, food (lichen chocolate, vinegar, biscuits, gourmandise), pharmaceutical (Island’s lichen toothpaste) and, more recently, they play a role as sentinels for environmental quality. They even went to space! A “little world” to observe, know and protect. Deborah Isocrono will escort us inside Topolò and its surroundings to discover this little world.

The Same (obsolete Topologies)

a project by Rui Manuel Vieira and Haarvöl

The film that we will present starts by playing with the name of the location itself, through its title “The same (obsolete topologies)”, to later play with the visual possibilities of the similarities between the abandoned Portuguese countryside and its equal in Italy. Or what we call the obsolete topologies of the same. The notion of topology is inherently qualitative and, for that reason, in no way do we want to deal with formulations that resemble a documented (quantitative) idea. It is therefore an artistic piece that explores the perceptive reactions to a set of images revolving around the idea of the equal that, wrapped in oddness by their edit, unfold as the music, composed specifically for those images, grows deeper. .

Composed and recorded by Fernando José Pereira, João Faria and Ulobit (Xoán-Xil López, Horacio Gonzaléz Diégues and Ariel Ninas).

Film created by Rui Manuel Vieira Haarvöl: electronics, field recordings and images. Ulobit: electronics, tape manipulation and hurdy-gurdy.

12.116 pezzi

raccontati da Lorenzo Cerneaz

Dodicimilacentosedici sono i pezzi che compongono la Ferrari del pianoforte, il Gran Coda Steinway and Sons e si contano sulle dita quelli che sono in grado di ricomporli. Uno di loro abbiamo la fortuna di averlo qui vicino a noi, a Udine: è Lorenzo Cerneaz. Assistere a un trasporto, alla messa in posa e all'accordatura di un pianoforte da parte di Lorenzo è come assistere a qualcosa di più che un lavoro meramente tecnico. La sua visibile passione e le performances che lo hanno visto permettere concerti per pianoforte in luoghi che sarebbero estremi anche per un flautista, invocano una narrazione che lui stesso ci farà prima del concerto di Alessandra Celletti. Un altro dono di Lorenzo alla Stazione di Topolò.

Topolovska Minimalna Orkestra

Music for 18 Topolovers

We cannot call it Minimalna Orkestra without having engaged, even just superficially, with Steve Reich’s masterpiece “Music for 18 musicians”! It is not about being able to play it in its original version, because it requires an ensemble difficult to find in Topolò (various instruments, such as 3 marimbas, 4 pianos, 2 xylophones and a vibraphone) and virtuous and uncommon capacities, but we will try to analyze and extrapolate some sections, inevitably re-arranged for the musicians who will want to take part in this challenge.

Sacred Honey

pianoforte: Alessandra Celletti
musiche di Gurdjeff-de Hartmann, Satie, Celletti

Quando Lorenzo Cerneaz ci ha proposto una operazione Fitzcarraldo, cioè quella di portare un gran coda Steinway nei boschi di Topolò, abbiamo pensato subito ad Alessandra, che a Topolò, nel bosco, aveva già suonato nel 2013 durante il suo Piano, piano on the road. Recentissimo è il suo CD Sacred Honey, che contiene le musiche composte dal filosofo e mistico armeno Georges Ivanovitch Gurdjeff, trascritte dal suo discepolo Thomas de Hartmann.
Le musiche e la filosofia di Gurdjeff hanno fortemente influenzato musicisti come Robert Fripp, Franco Battiato e Keith Jarrett. Il concerto di Topolò prevede anche brani di Erik Satie e della stessa Celletti.

Alessandra Celletti, pianista e compositrice, spazia in un repertorio che da Baldassarre Galuppi giunge fino ai giorni nostri, come dimostrato dalla sua copiosa discografia. Ha collaborato con artisti di diverse discipline per il cinema, le arti performative, il teatro. Vive a Roma.

il concerto è in collaborazione con Cerneaz pianoforti.

Marilisa Cosello


Marilisa Cosello (Salerno, 1978) si diploma in Arti Visive nel Regno Unito. Lavora per 5 anni come fotografa di news, per poi passare ad un approccio concettuale all’arte. L’obiettivo principale del suo lavoro è l’indagine visiva dei rapporti e degli archetipi della società e l’analisi della relazione umana nelle sue possibili forme di limite e potere, dove il corpo diventa un soggetto oggettivo.

Giovanni Lami

A collection of minimal sonorous details that will form a garden, in which only sustainable conditions will be formed, a submersive aureal substratum, always flowing and dynamic, where almost-autonomous interactions produce balance. The goal is to realize a complex sonorous space, in which everyone’s auditory experience can be free to evolve, wonder and get lost.

Transmissions from the Past

Valerio Bergnach

Listenings of a past, lived in Topolò. A temporal travel in the sound archive of Topolò, where memory takes form in the present through listening. An acustic and interactive installation for a domestic ambient and in transit listeners. The installation gathers the transmission’s flow, the listener chooses memory’s stream. In collaboration with Antonio Della Marina.

Field Studies

Glauco Salvo

Field Studies is a series of studies on the possibility of manipulation and falsification of images on recorded sonorous locations and landscapes. Areas strongly influenced by sonorous activities, to the limit of the stereotype, get slightly altered by the intrusion of electronically-generated sounds, or activated by small vibrating devices. These are recorded on the spot or progressively overlapped through software for audio editing, with the scope of returning slightly unreal audio-images , in which the audio-documentation does not have the pretension of reproducing reality, but it exploits the technological possibilities of the audio, in order to clearly reveal the process of sound sophistication.

Ian-John Hutchinson

Intentions :: It may be that...a microphone array will be open and that first and second hand sounds may be heard...there may be actions that test the fragility of sounds at differential distances...opportunities to improvise, opportunities to collaborate may arise...such kind of things... Since the first edition, in 1994, Stazione hosts, thanks to the support of the Arts Council New Zealand toi Aotearoa, artists from New Zealand; it is a symbolic way to hug the whole world, for New Zealand is the State at the antipodes of Italy and Slovenia, it exits the obsession on borders which has dominated for a long time our area.


un film di Gürcan Keltek
84’ - 2017

Arrivano la notte. Tutti escono di casa. Accendono le torce e ricordano coloro che hanno percorso queste strade prima di loro. Nelle prossime ore, la città è bloccata ed appare un eclissi. Nella notte, meteore iniziano a cadere. Combinando documentario a cronaca politica, e connettendo la terra al cosmo, Meteorlar è un film sulla memoria e la scomparsa - di persone, luoghi e cose.

In collaborazione con Trieste Film Festival nell’ambito di TFF in tour