Premio Combat Prize

Description:”Know that, before the emanations were issued and the creatures were created, the simple Superior Light filled the whole existence. There was no free place, neither air nor empty space, but everything was full of that simple infinite Light. There was no distinction, neither a beginning nor an end, but everything was a single simple Light, equal to a single equality and it is the one that is called Or-Ein Sof. The vacuum of air and space generated by self-limitation of Ein Sof was surrounded by ten circles called ”pots” (kelim) that identified with the ten Sefirot, corresponding in this case to the various levels of reality present in the Creation, but the Superior Light not abandoning completely empty space. In the 16th Century, Rabbi Issac Luria wrote: ’And then arose from the Light of Ein Sof a single line from top to bottom, which is held down inside that space [empty]. And through that line reworked, created, formed and did all the World’ 
Today, science has discovered how to turn light into matter and vice versa: according to modern theory, the universe might have formed from particles of light called photons. The line of light across all ten ”containers” (as described by the sound) surrounded the void, but some of them could not contain it, so they broke (as the broken cymbals that assemble the sounding sculpture I created to play the music) by causing the so-called haKelim Shevirat, a cosmic catastrophe that caused the onset of Chaos in the Universe. The KELIM ENLIGHTENMENT turns around the meaning of creation from the concept of a vacuum, metaphorically present even in death, as a moment that generates new life. If art is life, it can also die to create a new artistic cycle. Only after the acceptance of the void as an indispensable element of creation, and death as a necessary outcome of all, life can continue into the future. So the artist will strive for perfection of the universe contained in Chaos, among silence and noise. He becomes a sort of spiritual warrior then, in order to re-establish the consciousness of the world. The artist now knows well how to use what is apparently useless or unusable, to rediscover emptiness as something essential for creation and the acquisition of knowledge of being. All the materials employed had already been used previously. They were destined to become trash. This way, an object that was supposed to never be used again, was given a new ”life”. The purpose of this was to help people develop a criticality about the environment, to create new and eco-sensitive systems and to help people to re-invent themselves while fighting the economic crisis. We have already spent too much time destroying models, ideals and ideas. But where has this taken us in the meantime? Can we at least recognize it? It is right to hit rock-bottom at times to re-discover life’s darkest side, as long as it is useful in order to rise back to the surface again and as long as it strengthens us enough to potentially touch the sky. From our annulment we can re-discover fullness, in a new and exclusive way in order to rise again everyday and re-build and determine ourselves positively. This should be art’s message nowadays. Art can either prove or neglect concepts, but it cannot deny man’s position at the centre of the universe. Once nichilism has been understood, one grows towards new experiences in order to melt them with the previous ones or to compare them, but always going forward by growing up and improving. What we probably need is a new Humanism, new artists that re-evaluate space, time, things and thoughts. Above all, we need to give strength and courage to the world. Almost a new belief... This is what it means to be truly transgressive nowadays.
May it lead to a spiritual rebirth? ”Art in the Virtue of its Void…”Biography:Lorenzo Sevn Altieri is an Italian artist and music producer. He has been producing music from Pop to Electronic Music and Avant-Garde by becoming also a Sound Designer and Composer for Contemporary Art Events. As an artist he can both produce sounds and sounding sculptures. Since 2000 he collaborates with PaRDeS, Laboratory of Contemporary Art Research (Venice). One of his soundtracks ”Kátharsis” was selected at the Architecture Biennale of Venice for the collateral event Immaterial Spaces (Venice 2010). He is constantly striving to stay ahead of the curve and is always in search of new frontiers.Main Dates:- Soundtrack+Video “Kelim Enlightenment” for the event “Progetto Arca” (Venice, 2013).- Sound Design Album ”PAiSTe Concerto: a Film Suite for Cymbals” (2012).- Soundtrack “(f)E=(f)m*(f)c2” for the exhibit “Relativity” (Venice, 2012).- End And Over Concerto for the NYBA (New york, 2012-2013).- Soundtrack ”N.O.V.V.O.N. (Nature of Violence-Violence of Nature)” + Steel and Broken Glasses Globe for the event Adamà at PaRDeS,Laboratorio di Ricerca D’Arte Contemporanea (Venice, 2011).- Soundtrack ”Kátharsis” at the Architecture Biennale of Venice for the collateral event Immaterial Spaces (Venice, 2010).- Video Installation ”Chinoise Domino” with Paola Volpato at Caffè Fandango, (Rome, 2009).- Soundtrack ”34 mins of inner conflict” for the event “L’ anima del suono” at PaRDeS, Laboratorio di Ricerca D’Arte Contemporanea (Venice, Summer 2009).- Duet (Piano preparato+DJ set) with Johannes S. Sistermann (Padova, 2001).