#005 Starting out on cello two very popular books are either the Suzuki Books or Essential Elements. Here I talk about the pros and cons of both. Hopefully, you also have a teacher to help guide you to your goals as well! I also have youtube videos that can help you regardless of which book you use.

Suzuki books are the ones that I tend to use, because I have training in using them and I like the rate of progression. If I need supplemental music I will often go outside of the Suzuki books for those. This is a great series if you have been exposed to music before. It will be a little less slow.

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Essential Elements is exactly that. It shows you ALL the essential things to know when you are playing the cello. This can be a great thing if you want a thorough step-by-step process. But for a lot of people, this can be a little tedious and slow. I think if you need to get used to reading music and have NOT had any experience this will be a great book for you.

An artist and also an activist, Cagol, through photography, installations, and videos, but above all through artistic performances, helps make the world reflect on current emergencies by highlighting the political implications and effects of globalization.

The project was conceived from a visceral and imperative urgency that made me compare for some years with the director of MUSE Michele Lanzinger regarding the proposal of a contemporary art that can create a decoding of the ongoing environmental and climate crises.

Science is not enough, numbers are not enough to make us understand the complex moment we are experiencing and to make us imagine desirable futures. Scientists and artists together, who in our imagination are poles apart, in this case, move in the same direction, in a continuous comparison.

I often carry out performative actions in total solitude: it is at that moment that I feel most of everything. At that moment the human being no longer matters. I felt this sensation for the first time in the Arctic, and now I continue to search for it. I was in the far north of Norway on the Russian border as an artist in residence.

When I left the Alps, where I decided to live in a small town in the Val di Non, I thought I would simply find a harsh winter. I was wrong, there it is possible to truly feel the enormous power of the elements, of the ice, of the wind, of the waves, the universe of which everything is part.

Contemporary human beings have a voracious hunger for energy like never before, and the digital world absorbs more and more energy. This became clear to me with the project you mentioned and it crossed Europe, physically and conceptually touching places of production of physical energy and cultural energy.

On that occasion, I approached the power plants in Germany connected by conveyor belts to open-pit coal mines of immense proportions. In that image, I found an evident visualization, because otherwise, energy is immaterial. In my project, I decided to make it visible using an infrared video camera, capable of showing the persistence of traces of energy on what we come into contact with.

The strangest thing was asking visitors to touch the walls of a museum, monolithic ones like the Folkwang in Essen. In reality, the element of energy runs through many of my works, such as the performances in which I use light and fire.

The artist has a great responsibility towards society. Or, rather, he should start having it again. I have always felt it. My first video work talked about irresponsible atomic use. In 1995 nuclear tests were carried out by the French in Mururoa, a Polynesian atoll, the last explosions on the planet.

As I am writing, the audio of that work is present in a solo show at the Lavazza Museum in Turin, Italy, in the exceptional archaeological space under the Lavazza Cloud (Nuvola Lavazza). To create it, I had analogically slowed down the sound exponentially, reaching figures high to the N, until I discovered and brought out on a perceptive level what appears to be an astonishing composition performed on the cello: the soul of the bomb. It seems to feel the human hand moving the bow on its strings playing heartbreaking music.

This interview aligns with the \u2018Nature and Culture\u2019 campaign initiated by the Culture For Causes Network in November 2022. Within this framework, an exhibition titled \u2018Reconciliation with the Living\u2019 was exhibited in Paris at UNESCO HQ, focusing on the theme of harmonizing humanity with itself and the natural world; the exhibition travelled to Florence and to Lisbon as well. Additionally, MuseumWeek 2023 featured numerous hashtags related to environmental topics. A video series titled \u2018Nature and Art\u2019, a collaborative effort between UNESCO and the Solomon R. Guggenheim Museum, was also showcased as part of this initiative.

After studying at the Brera Academy and then at the Ryerson University in Toronto, the Italian artist Stefano Cagol (Trento, 1969) began his career in the \u201990s, focusing all his production on supporting some themes that are more relevant today than ever, such as the energy, climate change and therefore the relationship between man and nature.

Winner of several awards such as the Terna for Contemporary Art (Megawatt category), among his most important projects, is \u201CThe Time of the Flood. Beyond the Myth through Climate Change\u201D which was presented in Italy in Rome and Venice, but also in Berlin, Vienna, and Tel Aviv. A multifaceted and conceptual artist who, in addition to performances, words are two very important aspects that complete the meaning of each of his works. And so, exclusively for MuseumWeek Magazine, in this long interview with Stefano Cagol, we asked what the term relationship means.

\u201CConcepts, and therefore words, are central in my works. Even with their sound and their graphic appearance. I often start with the title, which becomes a summary and, sometimes, works itself. This is the case of neon writings such as \u2018Flu Power Flu\u2019 and \u2018Ice Melting Ice\u2019, a sort of short poems, but it is also the case of banners, such as the one presented at the 14th Curitiba Biennial in Brazil: \u2018Non-Somos Aquecimento Global\u2019, we are global warming, unexpectedly unleashed in front of visitors to the MON the Oscar Niemeyer Museum, while the Amazon rainforest was on fire. Many years ago during a very special masterclass near Villa Manin with just two students, the Californian artist Maria Nordman taught me the concept of time-specificity, of a unique connection with the moment\u201D.

Then he adds: \u201CThis is the relationship: synchronicity, which makes us understand that we are not the center, but part of a balance between elements, as Niccol\u00F2 Cusano, long before Copernicus, had already intuited. I particularly like the term synchronicity, because some linguists connect the term chronos not only with the idea of time but, more archaically, with the Sanskrit kar, the common root of creating and caring. Synchronicity is doing together, and caring together. Synchronicity is a key to our species and connection to the whole\u201D.

As almost always happens in my working method, the title and concept arise from and are a consequent evolution of the previous project, in this case from \u201CThe Time of the Flood\u201D. The latter, a multi-site project with the support of the international promotion program of Italian contemporary art of the Ministry of Culture (called the Italian Council), started, with perfect synchronicity, a few days before the pandemic, describing the flood as a great upheaval.

Thus, in the text that closes the book to seal the project I declare \u201CWe are global warming, we are the pandemic, we are the flood\u201D. We are used to always blaming someone else: industrialists, politicians, other nations. Instead, the flood represents our being, now 8 billion, fantastic but shocking, racing towards the abyss.

\u201CWe Are the Flood\u201D, as indicated by the plural subject of the title, started from a large artistic/scientific committee and created the direct involvement of artists of different origins and generations, from the well-known Spaniard Eugenio Ampudia to the intense and committed American Mary Mattingly, based in New York City, up to many young people under 35 selected through a sequence of open calls, who were offered the possibility of growth through masterclasses and exposure opportunities alongside the masters.

The exceptional interaction between different fields was fundamental, not only of science but also of philosophy, with the irrepressible and inspired Timothy Morton, and of poetry, with the special and sensitive Franco Buffoni and Antonella Anedda. In other words, \u201CWe Are the Flood\u201D gave life to a community, a thinking and reflective community, of which the public was continually called to be part, an essential element.

\u201CWe Are the Flood\u201D created multiple open moments and the so-called \u201CLiquid Exhibitions\u201D, in unusual places outside the MUSE, such as an archaeological space underground in Trento. Until the consecration and the possibility of founding the first public collection of contemporary art in Italy dedicated to the Anthropocene and belonging to a science museum. 152ee80cbc

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