As a drummer, Iʼve toured throughout Italy and Germany with several musical projects.
In 2018 Iʼve started to experiment digital performative actions merging music, contemporary art and social network hacking, developing the concept of sound murals
Sound Muralism Find out
Max Magaldi

SOUND
MURALISM

Sound Murals can be described as site-specific soundscapes for public spaces that anyone can listen to through their devices.

Every sound mural achieves its full meaning only in relation to the space that itʼs written for.

Can music became public art?

Can we use sounds to build psychological architectures able to dialogue, shape and give alternative interpretations of our natural/urban/social landscapes? Welcome to my research about Sound Muralism

In the middle of the populistic wave that was hitting all the major western countries Iʼve created theDrama project, starting to work on the migrants issue
theDrama Find out
Max Magaldi


theDrama is the slang sound of the words “the drummer” but also a concept that synthesizes the conditions of millions of people forced to leave their countries due to wars, violences or climate disasters in which, whether we like it or not, we are all involved.

The overlapped and stylized mouths that form theDrama logo represents comedy and tragedy, the two sides of the classical drama, but also the prosperity of the rich part of the world that can smile only because of the exploitation of the poor part of the world, beneath it.

theDrama is an artivism project that uses music as contemporary public art; every release consists in a site-specific composition that achieves its full meaning only in relation to the space that itʼs written for and itʼs announced by cross-medial actions between virtual and real world.

Meanwhile, Iʼve started to work in the contemporary art scene, creating recorded or live sonorizations for art exibitions/installations
Simbiosi & Merci Find out
Merci Simbiosi

Merci
Simbiosi

In 2019 Iʼve created musical performances for “Simbiosi”, Edoardo Tresoldiʼs installation at Arte Sella, Italy

and “Merci”, the exhibition of the Spanish artist Gonzalo Borondo in Bordeaux, France

In May 2019 I released “Riportiamogli a Casa lʼOro” the first theDrama sound mural dedicated to the European crude-oil ports
RiportiamogliACasalOro Find out
RiportiamogliACasalOro


The first sound mural of theDrama project is called "Riportiamogli a Casa L'Oro”, and is dedicated to all the crude oil ports where the rich part of the world welcomes boats from other countries only if theyʼre carrying crude oil or other precious raw materials instead of human beings.

Lyrics are taken from a radio interview of Italian right-wing politician Daniela Santanchè at the height of the migrant crisis in 2015.

According to her (and to many other Italian and European politicians) the crisis could be solved by “sinking the boats”.

Listeners thatʼll listen to this sonorization in the nearby of a crude oil port will hear words suggesting them to “use force” and “sink the boats”, but they will face crude oil tankers instead of migrants boats, often coming from the same countries as the migrants do.

To announce this first release, Iʼve created one of the biggest Facebook trolling initiatives ever, deceiving thousands of Matteo Salviniʼs fans (at the time Matteo Salvini was Italyʼs powerful interior minister and leader of the anti- immigrant Lega party).



RiportiamogliACasalOro



Iʼve created “STOP Barconi” (STOP the Boats), a pro-Salvini Facebook page that reached 30,000 followers in less than 2 months, feeding them with all the classical repertoire of xenophobic/racist/populistic content that is typically posted by similar pages.

In May 20th, at the climax of the European election campaign, STOP Barconi

announced the live stream of a striking action against the refugees: the “refoulement of a boat”.
Thousands of users rushed to watch the Facebook live stream but the boat they were seeing in the video was a crude oil tanker entering the port of Trieste, one of the most important European oil ports.



2,000 users watched the live streaming and over 1.300 even shared the video on their Facebook profiles, despite the boat being a crude oil tanker and the video description clearly reading “I pranked you!”.

Facebook profile “STOP Barconi” is designed as a virtual contemporary art performance, a social audio/visual mural painted on Facebook walls.

All of its posts, comments and reactions will not be removed: the mixture of homophobic and racist expressions, and the social networksʼ dramatic superficiality, represent the times weʼre living in.

The page will remain open, constantly changing based on usersʼ reactions.

In September 2019 Iʼve started to collaborate with STUDIO STUDIO STUDIO for the realization of “Gharfa”, an experiential installation in Riyadh
theDrama Find out
Max Magaldi


Gharfa

Gharfa was a huge experiential Tresoldiʼs installation that featured a collaboration between him, Alberonero, Matteo Foschi and me.



Iʼve created the sound environment of the installation by designing a sound de-composition: three different yet interconnected sound tracks were played in different part of the installation and allowed the visitor to hear their balanced mix only in the center of the structure.

Moving from that focal point, the visitor could practically create his personal audio “mix” walking through the installation, getting closer to one sound source and moving away from the others.



During the development of this de-composition Iʼve started to think about the concept of sound anamorphism, and started to understand how nature sounds are anarchically distributed in the space, unlike weʼre used to produce and re-produce them in the music business, slaves that we are under the left/ right hi-fi dictatorship.

In February 2020 Iʼve released theDrama#2: Europe/YourHope,
a sound mural dedicated to the astonishing Lifejackets Graveyard in the island of Lesbo, Greece.
theDrama#2 Find out
theDrama#2

theDrama#2
Europe/YourHope

Europe/YourHope is the second release of theDrama project, made in collaboration with the Italian artist Andrea Villa, and is dedicated to the Lifejacket Graveyard, an incredible place where are amassed thousands of life jackets, boats, clothes and other stuff abandoned on the Lesboʼs coasts by the migrants approaching to the Island.

A couple of 3 meters tall columns, made using 60 “donuts” life jackets used by the migrants during the sea crossings, marked the borders of the two incredible lifejackets dunes, transforming the place into a true monument dedicated to the refugees and emphasizing his solemnity and dramatic force.

The place was sonorized using a TV monitor in which the speech that the Greek Prime Minister Kyriakos Mitsotakis had in front of the U.N. general assembly, talking about “Democracy, individual rights and equality”, turned into a sad and barely recognizable version of Beetowenʼs Ode to Joy, the official E.U. anthem, transforming the life jacket graveyard into the European values graveyard.

Only if weʼll cross the Pillars of Hercules of our contemporary western fear of the diversity Europe can finally became Your Hope .

During the digital acceleration of the first covid-19 lockdown Iʼve started to work on the idea of theVices/Devices, a series of 7 a/v installations by which explore the relationship between technology and human behavior
theVices Find out
theVices


ARE DEVICES EVOLVING THE VICES?

The reflection on how vices corrupt the human soul, depriving an human being of his freedom has always fascinated philosophers, artists, thinkers.

Despite all the historical changes, the 7 capital vices remained unchanged: Pride, Lust, Avarice, Sloth, Wrath, Gluttony and Envy have gone through almost two millennia, unscathed.

Today, however, our social, cultural and economic habits are being changed like never before by the web and by the devices through which we seamlessly enter the cyberspace, often without even realize it.

The multiplication of the infinite online possibilities, where can we say, show, look, listen, be, wish, hate, court and buy virtually anyone and anything radically changes the way we interpret ourselves and interact with others, influencing our habits and ultimately our temptations.

theVices/Devices is a cycle of seven sound/multimedia installations that reflect on how Capital Vices are transformed and updated by the diffusion of the electronic devices and the social practices that these have created and stimulated .

Are devices evolving the vices?

theVices
On December 2021 theVices#1: Vainglory, an experimental audio/video installation that featured a 150 digital devices orchestra, was realized at Petrella theater, Italy
VainGlory Find out
VainGlory

theVices#1
VainGlory

”Where pride desires to have some excellency and majority, vainglory, not even satisfied with this, wants to manifest it and show it off, in order to acquire praise, name, honor and fame among the people".
(Jacopo Passavanti, Mirror of True Penance, 1354)

Vainglory is a big Audio/Visual sculpture that stages the obligation to stage ourselves that anybody experiences in everyday life on social networks , and happened for the first time invading and subverting rules and perspectives of the Petrella theater, a wonderful historical Italian theater built in 1864, at the beginning of december 2021.



We fullfill our social profiles with the best possible content, trying to compress our existence into a timeline that can be envied by others as much as we envy others' timelines.

The democratization of artistic production pushes us to a condition in which everyone became both artist and public of himself, transforming audiences from tendentially passive masses into a creative multitude able to compulsively produce all kinds of contents;



SOCIALITY becomes SOCIAL and produces a condition always poised between examples of random creativity, sometimes surprising, and a consistent background buzz.

In these conditions, the stage no longer exists because THE STAGE IS EVERYWHERE.

Thatʼs why the stage of the theater is empty. Instead, stalls and balconies are crowded by 150 digital devices, each transmitting a different audiovisual content.



The stage is no longer a place of performances; lost its ability to be a pulpit it becomes a privileged observation point, from where we can look at this perpetual creative flood which is able to enlightingly tell us about the contemporary.

Cyclically, the background buzz generated by the overlapping contents of the 150 devices is modeled and transformed into a sound and visual sculpture; observed and listened from the stage, the crowd of devices becomes an orchestra performing shreds of an hypothetical contemporary piece, to return again to produce, after a few minutes, the background noise of our lives.

Contacts

FacebookInstagrammaxmagaldi@gmail.com