About

Tutto Questo Sentire (TQS) exists as a system of experiences that articulates itself in a generative way through residencies, events, films, and publications. Since its inception in 2014, the collective has dedicated itself to investigating the encounter between different artistic disciplines from the contemporary music, visual, and performative international scenes, with a particular focus on the nature of sound and its relationship with video, time perception, environmental awareness, and live performance practices.

At the core of TQS's methodology lies the investigation of what remains of a creative experience—the resonance that persists after a performance concludes. This exploration manifests through site-specific interventions that transform spaces into active participants in the artistic process. The collective's work consistently questions the standardization of perception, whether through non-hierarchical approaches to video sequencing, investigations of historical tuning systems, or the manipulation of light and space.

TQS outputs take multiple forms: performing actions, staged multimedia productions, live media events, and exhibitions. Each manifestation is conceived as a response to the unique spirit of place—the genius loci—that emerges through careful attention to the architectural, acoustic, and atmospheric qualities of each venue. From the industrial spaces of Het HEM to the classical setting of Rome's Botanical Gardens, from the standardized concert hall to experimental club environments, each location becomes a laboratory for exploring the boundaries between sound, space, and human experience.

The collective's approach to collaboration is rooted in nurturing long-term artistic relationships and friendships, bringing together practitioners who share a commitment to rigorous experimentation. These collaborations have resulted in a diverse array of projects: operas created with experimental musicians, site-specific installations combining quadraphonic sound and programmed light, and expanded film works that challenge conventional narrative structures.

Central to TQS's practice is the concept of the archive as an organic and open platform. Rather than serving as a static repository, the archive functions as a living document of the collective's ongoing investigation into the relationships between different sound traditions, the perception of time, and the environment. This approach allows for continuous reexamination and recontextualization of past works while informing future directions.

Through its various manifestations, TQS creates conditions for active listening and heightened environmental awareness. The collective's work consistently challenges the boundaries between acoustic and electronic, visible and invisible, form and force. Whether through the interweaving of classical instruments with synthetic production, the sampling of evening skies for light design, or the careful documentation of creative processes, TQS builds bridges between different modes of artistic expression while maintaining a deep commitment to site-specificity and experiential depth.

In essence, TQS serves as both a curatorial framework and a creative force, consistently seeking out the liminal spaces where sound, vision, and architecture converge. Through this practice, the collective continues to expand our understanding of how artistic interventions can reveal and amplify the inherent qualities of space, while creating transformative experiences that resonate beyond the moment of their initial presentation.

Sandro Mussida

Balancing on the fine line between rigorous experimentation, innovation, and tradition, the work of Sandro Mussida fosters an active listening approach, exploring the relationship between sound, space, and context, form and force, visible and invisible. Moving across the acoustic, electric, and electronic fields, he composes for orchestra, ensembles, soloists, and electronics. His work is published by Sony Classical, Boomkat, Tapeworms, Blume Editions, Metrica, Soave Records, Curl, Die Schachtel, Room 40.

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Olivia Salvadori

Olivia Salvadori is a classically trained soprano, an operatic solo performer and recording artist.

Olivia Salvadori collaborated with poets, visual artists and musicians from the most diverse backgrounds and performed internationally in venues like Camden Arts Centre London (UK), Serralves Museum, (Porto), Hong Kong City Hall (HK), Botanical Gardens (Rome), Triennale Museum (Milan), Donizetti Opera Theatre, (Bergamo), Kaaitheatre (Brussels), Palau de Les Arts Reina Sofia, (Valencia), MuseoNovecento (Florence) WienerFestvochen im museum quartier (Vienna)

Selected releases:
CURL recordings 2nd compilation 2020; DARE VOCE, Sony Classical Italy, 2016; MILLEUNA Nanni Balestrini’s sonnets book + cd tribute to Demetrio Stratos, Derive & Approdi ed. 2007

She lives and works between London and Tuscany.

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Rebecca Salvadori

Rebecca Salvadori is a London based Italo-Australian video artist.
She has a long experience of filming environments with a focus on non-hierarchical/chronological layering and sequencing of audio to footage. Her works act as constellations of highly personal and wilfully elusive heterogeneous elements: multifaceted portraits of moments, people and environments that can be approached from different angles as they move in between personal and transpersonal scales. When working with animation, she constantly combines sound and image in a continuous chain of casualties through elements of chance and free association, rejecting chronological layering and sequencing, always looking for a way to escape from software automation. Salvadori is a part of A/V duo Footage together with video artist Leah Walker as well as the 2022 artistic director of Norient Film Festival.

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