On Thursday, June 8, 2023, at 8 pm, FuturDome is pleased to present the live performance A piano from shoulder to wrist, by Ramona Ponzini.


The event is promoted on the occasion of the closing of the 22/23 exhibition season, in conjunction with the finissage of Marco Pietracupa‘s exhibition The Vacuum Decay, curated by Atto Belloli Ardessi, open until 9.30 pm.


A piano from shoulder to wrist is a sound collage inspired by the need for hybridization and contamination between disciplines, on the urgency of musical expression even where music does not seem possible. A sound meditation in the making, always the same but always different, rooted in the practice of Om Dhyanam.

Previously shown at Artissima (2021) and Towner Eastbourne (2022), it is presented at FuturDome in an original version.



RAMONA PONZINI‘s debut dates back to 2005 with the project Painting Petals On Planet Ghost, focused on Japanese poetry as a privileged source of musicable lyrics, which landed on PSF Records, Japan’s cult label of artists such as Keiji Haino and Kaoru Abe. Over the years, Ponzini has collaborated with prominent figures such as Lee Ranaldo of Sonic Youth, Tom Greenwood of Jackie-O Motherfucker, and with industrial percussionist Z’ev. Her solo project consists of unusual DJ sets contaminated by vocal interactions and sound collages. In 2018 she was resident dj at OGR in Turin during the exhibition Dancing is what we make of falling, curated by Samuele Piazza and Valentina Lacinio.
In 2019 she realised Trees are columns with clouds on top, a vinyl and a sound performance dedicated to master Italian painter Salvo, presented by Norma Mangione Gallery and during the exhibition Autoritratto come Salvo at MACRO – Museum of Contemporary Art of Rome (2022). Her latest sound work, frogs.picus.VANNA (2021) is a three-channel installation commissioned by the Castello di Rivoli – Museum of Contemporary Art.

Ramona Ponzini’s practice is inscribed in a hybrid territory: techniques from both visual and literary arts, such as collage or Burroughsian cut-up, are combined with sound experimentations and improvisation in a noise and jazz style. At the compositional level, the process adopted by Ponzini follows a purely conceptual matrix, crossing the idea of “editing” and “sampling” of coded and reprocessed elements through the use of loop machines and both digital and analog effects. They are “d’apres sonori” that draws on poetry, music and landscape, captured through the technique of field recording.