Giada Dalla Bonta

Denmark, Germany (residence), Italy (citizenship)
affiliation: Copenhagen University
en

Researcher, curator, and writer working at the intersection between sound, art, politics, underground and experimental practices, with a focus on unofficial cultures during the late Soviet Union and contemporary practices in Central and Eastern Europe, the Caucasus, Central Asia, the Baltics. She has worked with independent art projects and experimental music labels as well as institutions (Mondrian Foundation, HNI Rotterdam, Venice Biennale) and held lectures and participatory projects on sonic fictions and sonic agency in politics, art and ecology at Freie University Berlin, HKW and AdK, among others. Currently based in Berlin and Copenhagen, she is a PhD fellow affiliated with the Sound Studies Lab at Copenhagen University's Department of Arts and Cultural Studies.

research

research expositions

  • Sounding the dissolution from a Cosmic Space (2025) author(s): Giada Dalla Bonta published in: Journal of Sonic Studies
    Whereas the sonic experimentations at the dawn of the October Revolution have been extensively documented, little research has been conducted on practices at the intersection of sound and art during the USSR dissolution. This article explores the political significance of sonic practices –alongside their cultural, artistic, and sensory dimensions– in late Soviet Russia's unofficial art scene, examining the case study of the New Artists group in Leningrad and their shift from mocking avant-garde legacies to a more organically interdisciplinary approach, presumably initiating rave culture in the region. This shift, along with the re-appropriation of cosmism, is framed as a sonic fiction made of music, dance, art, queer inclusivity that aimed at transcending the Iron Curtain and extending conceptually to the Universe. In particular, the paper aims to highlight the decisive influence, often overshadowed by the figure of Novikov, of musicians Valeriy Alakhov and Igor’ Verichev (New Composers) in such evolution by informing the group's poetic strategies and compositions in accordance with their sonic thinking and imagery. The understanding of “togetherness” as constitutive element of late Soviet underground culture and of the hypernormalized official ideology’s de-territorialization (Yurchak 2006) also demonstrates, through J.-L. Nancy’s theory of communal bodies, the role of participatory and corporeal sonic experiences in creating sonic fictions from “interplanetary sounds” able to penetrate socio-cultural dynamics. The artists’ “ubiquitous” (vsyochestvo) principle of absolute synthesis of the arts is thus extended to the realm of sonic materiality, multisensoriality and sonic agency, articulating afresh its appellation of “new avantgarde” of the empire’s dissolution. This article delves into the New Artists' initial evolution before their transition into the more reactionary "New Academy" formation, as some artistic strategies, successfully subversive under Gorbachev, faltered in the post-Soviet landscape and strengthened reactionary forces now intertwined with the ruling power. A forthcoming publication in the Journal of Sonic Studies (Dalla Bontà: 2024) will delve into this subsequent phase during the 1990s, offering insights into the intricate dynamics driving this seemingly contradictory development in the group and in certain figures in the Russian underground scene.
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