MADDALENA IODICE’S RESOUNDING AT REA FAIR IN MILAN

image escribes Resounding, a performance and mixed-media installation by Maddalena Iodice at ReA Fair in Milan. Images show the artist playing a flute in a wood-paneled hall, abstract canvases in brown, grey and cream, and blurred close-ups of the mouth and flute.

Summary:

Maddalena Iodice presents Resounding, a 15 minute performance for body, voice and flute, at ReA Fair in Milan in October 2026.
A metronome marks time beside the performer as spoken words turn into clicks, laments and vocal outpourings.
The installation Resounding, fragments adds video, sound and four canvases in charcoal, oil bar and oil paint.

Maddalena Iodice presents Resounding at ReA Fair, held at Fabbrica del Vapore in Milan in October 2026. The work has two parts: a 15 minute performance for body, voice and flute, and a mixed-media installation with video, sound and painting.

In the performance, a metronome plays beside Iodice and tries to impose a linear order of time and space. Her sounds move outside this order. Sonic scores and gestural inputs activate her body, and spoken words break down into vocal outpourings, clicks and inarticulate laments as her mouth meets the flute. The texts for the work open with a line from philosopher Adriana Cavarero: “The flute dangerously allows itself to become a vehicle of phoné, in the dual sense of the term: voice and sound.”

The work reflects on Western logocentrism, which has long tied the voice to language and rationality. Her method reworks scores from dance-theater, Contact Improvisation and Butoh.

The installation Resounding, fragments (2026) extends this method into painting. The canvases give you no figure to read. They record the impulse of the torso leaning into dance, an extended breath, a pause, a mouth open on a vowel. Imke Felicitas Gerhardt’s essay contrasts the canvases with a vibrograph and states they do not promise precise left-to-right documentation. A one channel HD video in color, without sound, shows close frames of the mouth and the flute.

Gerhardt offers two readings of the title: a return to the relation where sound first occurs, or the exchange between artist and flute, harmonious in places and broken in others.

Four untitled canvases from 2026 use charcoal, oil bar and oil paint on primed cotton duck canvas. Untitled n.1 and n.2 measure 53 by 66.5 cm and cost €2,000 each. Untitled n.3 and n.4 measure 38.5 by 53 cm and cost €1,500 each. The video costs €900.