Daniela Cascella

Daniela Cascella (Italy/UK) writes through sound, literature, and art. Her work is driven by a longstanding interest in the relationship between listening, reading, writing, translating, recording; and in the conversations, questions, frictions, kinships that these fields generate, host or complicate. Writing in English as a second language, writing as a stranger in a language, she is drawn to unstable and uncomfortable forms of writing-as-sounding, and in the transmissions and interferences of knowledge across cultures and languages.

She is the author of Singed. Muted Voice-Transmissions, After The Fire (Equus Press, 2017), F.M.R.L. Footnotes, Mirages, Refrains and Leftovers of Writing Sound (Zer0 Books, 2015) and En Abîme: Listening, Reading, Writing. An Archival Fiction (Zer0 Books, 2012).
Singed articulates a language in trance-lation across different states of speechlessness. A fire, and the effort to remember a lost song, open into a meditation on the transmission of knowledge. The space of writing appears as a material engagement with language which points at its excess; at the ephemeral and the untold which continue to puzzle and enchant, and prompt more writing.
F.M.R.L. is a collection of short texts, fragments and deranged essays. It claims the complexity and intermittent incoherence in listening and reading, and works with their residual aspects addressing canons, issues of authenticity and fabulation, degrees of opacity and transparency across languages and cultures.
In En Abîme, listening and reading operate as creative and critical activities driven by memory and return, reshaped into the present. The book introduces an idea of aural landscape as a historically defined cultural experience and adopts listening as an expansive approach across poetry, visual art and literature.

Daniela's writing has been published in books and exhibition catalogues internationally, on Koenig Books, Errant Bodies Press, Cura Books, raster-noton among the others; and in art, music and literary journals such as Gorse, 3:AM Magazine, Music & Literature, The Los Angeles Review of Books, The Scofield, Numéro Cinq, The Wire, Organised Sound, MusicWorks, The Journal of Sonic Studies.

She is an editor at minor literature[s] where she initiated a new section called Untranslated, publishing reviews of books not translated in English.

Her research often expands beyond the book format into performances, curatorial and editorial projects and collaborations with artists, writers, and musicians. Details on these can be found here.

She is Associate Lecturer in the MA Sound Arts at LCC / University of the Arts London.

Between 2013 and 2018 she was Assistant Professor in Writing in the MA Fine Art at the University of Bergen, Faculty of Fine Art, Music and Design, supervising projects by students at the intersections between writing and art. She was a Research Fellow in the School of Arts at Oxford Brookes University (2013-2015) and has taught a workshop on Sound, Listening and Language in the MFA Fine Art, Goldsmiths University of London (2014-2016). She has spoken at conferences and has taught internationally, at the School of the Art Institute of Chicago, the Piet Zwart Institute Rotterdam, the Royal College of Art London, University of Oxford, University of Copenhagen, University of Cambridge, Royal Conservatoire The Hague, Tate Britain, Arnolfini among others.

Prior to her move to London in 2009 Daniela worked in Rome, Italy as an art critic and curator specialising in sound art, producing and curating projects for museums and public institutions such as the National Gallery of Modern Art, Rome and the British School at Rome.
Between 1999 and 2008 she was contributing editor of Blow Up music magazine, for which she wrote a monthly column on sound and the arts as well as articles and reviews on experimental music.

 

Daniela Cascella
daniela.casc@gmail.com

 

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http://enabime.wordpress.com