Lucia Farinati

1717 dedicated to Zambanella – a sonic Sabbath

Lucia Farinati (Sound Threshold) in collaboration with Richard Crow

Caliban and the Witch_


In 1717 in the jurisdiction of Castelnuovo and Castellano in Northern Italy, Domenica Pedrotti also known as “Zambanella” was sentenced to death for Witchcraft. Apparently this was the last execution that happened in Trentino, in the Italian Alps where the phenomenon of witch-hunting reached a peak in 1647 with the trials in Nogaredo.

As we have learnt from feminist writer Silvia Federici “the witch-hunt was one of the most important events in the development of capitalist society and the formation of the modern proletariat”. The witch-hunt was a precise maneuver to expropriate women from their land, their community, their knowledge and their bodies … Much can be said about the virtue of witchcraft and reproductive labour and how witch hunting can be read as an attack to women’s resistance to the spread of capitalism as well as to new forms of patriarchy and control over reproduction. Yet much need to be done, still, to break through this endless process of expropriation of land, bodies, and minds in contemporary times.

Dedicated to Zambanella is an invitation to renew this perpetual circle of witchcraft as a means of affirmation of female creativity, the therapeutic, the imaginary and the care of the body. I have asked friends and comrades to join me in preparing a sonic Sabbath and to make our voices heard again, and again, and again, ancora, ancora, ancora!

Tremate tremate, le streghe son tornate!
Artists: Anna Raimondo, CAO, Caroline Bergvall, Cherry Smyth, Jude Rosen, Karen Mirza, Letizia Renzini, LUXUL, Nicola Woodham, Rita Correddu, Silvia Bre, Silvia Morandi,Viv Corringham & Maggie Nichols.



Lucia Farinati (Italy/UK) is an independent curator and activist. In 2007 she established Sound Threshold, an interdisciplinary curatorial project that explores the relationships between site, sound and text. She has worked with the Precarious Workers Brigade and the Micropolitics Research Group and has collaborated with many sonic art projects and radio initiatives including bip bop, Sound Proof 5, Errant Bodies, Audio Arts, Resonance 104.4 FM, Institution of Rot,
e-xplo, Radio Papesse and Radio Arte Mobile. Her current research focuses on artists’ interviews, dialogic aesthetics and the feminist writing by Carla Lonzi which she has activated through collective readings and radio broadcasts. She is the co-author of The Force of listening, a book on the role of listening in contemporary conjunctions between art and activism which will published by Errant Bodies Press in 2016.

Richard Crow (UK) is an artist working in the field of experimental audio research, live performance and site-specific installation. He utilises sound and noise in a performative way, for its disruptive and subjective qualities and above all for its psycho-physical implications for the listener and viewer. His site-specific installations and performances have consisted of highly conceptualized interventions into base materiality, investigations of alternative systems of organisation and research into a certain material decadence, most notably with the cult project The Institution of Rot. Since the mid 80s Crow has collaborated, performed, and recorded with Joe Banks (as Ashenden), Zan Hoffman, Phill Wachsmann, Adam Bohman (as Diastolic Murmurs), Richard Barrett, Furt, The Elision Ensemble, The Hafler Trio, Clive Graham, Michael Prime, Heimo Lattner, Dean Roberts, Kaffe Matthews, Michael Morley (Gate, The Dead C), Sandoz Lab Technicians, dy’na:mo, e-Xplo, Alessandro Bosetti, KREV (The Kingdoms of Elgaland Vargaland), Esther Planas, Gintas K, The Bohman Brothers, Richard Thomas, Aleksander Kolkowski and Nicola Woodham.