Lalalalalalala, identity tests marks Chiara Sibilla’s first solo exhibition in a gallery space. Enriched by critical text from Jacopo Uberti and with Davide Masciandaro serving as both artistic director and technical lead, this exhibition is a dynamic relationship between space, instruments, artworks, and people — a dialogue between the material, sculptural, and architectural dimensions of her works and the immaterial nature of sound, poised at the threshold between visual art and sonic performance.

Through her practice, the artist invites us to ponder the educational value of music and new technologies as they engage questions of expression, identity, and consciousness. Via installations, acoustic environments, and collaborative performances, Chiara Sibilla pursues experiments that expand the very concept of listening, advancing ongoing research into how the alteration of an instrument absorbs sound and returns it transformed, revealing unexpected nuances. As with artists such as Tarek Atoui, within Sibilla’s microcosm listening becomes a language of learning and sound becomes a space for experimentation, connection, and improvisation — one that confronts us with a choice: to exist fleetingly within the gallery space as a distracted passerby, or to inhabit it consciously and receptively.

Oil paintings, drawings, and sculptures in bronze, clay, terracotta, plastic, marble, and silicone, alongside wind instruments, populate the space as living entities, resisting chronological linearity and proceeding instead through return and transformation. The natural light filtering through the gallery’s broad windows does more than illuminate the atypical forms of this sonic ecosystem; it becomes a part of it, a living and compositional material. The new economArt initiative by Amy.d Arte Spazio unfolds around “Listening rooms”, an active, participatory experience that invites visitors to engage creatively and to read art as a systemic practice that generates connection and meaning. The project is built upon materiality itself: an open process, fundamentally human and in flux, capable of activating relationships, strengthening bonds, and shifting the balance.

Through her inquiry into sound, the artist moves away from the inherited legacy of music and weaves it together with the transformation of musical instruments into “constructed” sound as a regenerative artistic practice, fully legitimizing sound, in its ontologically immaterial dimension, as a medium of visual art. By virtue of its “intermedia” nature, sound embodies (better than other materials) that contemporary sensibility which proceeds along “trajectories between languages, media, places, and histories” rather than remaining bound by categories still defined by the purity of the expressive medium.

With a polyphonic vision that looks less and less at isolated works and increasingly toward the construction of complex systems, the project asserts itself as both cultural apparatus and means of production, in which artworks and collective responsibilities become interdependent elements. In her creations and transformations, Sibilla does not experiment with matter so much as with its semantics, altering it to create new and unconventional aesthetics and sonorities — constructing a singular sensory landscape that encompasses the choir as well, designing a collective and visionary sonic experience.