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Condominio

Installation

April 2026

Convey, Milano

Produced by Hidden Mountain

Thomas Feriero - Composer, Creative Director
Furio Montoli - Installation Designer
Luca Rigat - Sound System Designer, Producer
Giulia Spitaleri - Producer

Vocals
Adriana Carlot, Alexander Inggs, Anna T., Aurora Tiepolo, Azzurra Pasta, Beatrice Marotta, Carlo Di Blasi, Cecilia Gesuato, Eliot Sumner, Emilia Pezzini, Francesco Napoleone, Furio Montoli, Giorgia Massari, Giulia Cigna, Giulia Feriero, Giulia Spitaleri, Giulio Montoli, Grégoire Dyer, Ha Ra, Jihyung Park, La V, Li Xue, Livia Peirce, Luca Rigat, Ludovica Rigat, Luigi Cianciaruso, Matilde Bonanni, Mattia Lolli-Ghetti, Michele Zanuso, Nicolo Terraneo, Oscar Morgan, Pablo Tapia Pla, Severin De Courten, Stefano Santi, Tanya Posternak, Thomas Legler, Tommaso Gesuato, Una Kviese, Zhenya Posternak, and 13 anonymous contributors.

For Milan Design Week, Hidden Mountain presents Condominio, a sound installation created in collaboration with Furio Montoli inside Convey, an exhibition organised by Simple Flair in a 1970s Milanese building.

The project draws on the Jungian idea of the house as a metaphor for the psyche, a layered structure whose spatial levels correspond to levels of consciousness. The installation takes up this image and rereads it in sonic terms, reversing its direction: not a descent into the unconscious, but an ascent through the spectrum of frequencies.

The composition unfolds along the building's staircase by register. On the ground floor, lower frequencies build a dense, disorienting presence. As you climb, mid-range frequencies emerge, closer to the voice and to speech. On the upper floors, higher frequencies introduce a more rarefied, suspended quality.

The sonic material originates from a collection of vocal recordings shared voluntarily online by a varied group of participants, friends and family of the studio. Each voice carries clear traces of its identity: timbre, intonation, the recording device, the room, the duration, even the way each person responds to a minimal prompt like singing or vocalising into a microphone. Catalogued, analysed and organised by note and frequency band, these contributions form a collective choral piece in which singularities are not flattened but keep their own presence.

In this sense, the work resonates with its host environment: the staircase of a residential building, a transitional and communal space, close to domestic intimacy yet traversed by a shared dimension, where distinct identities coexist, intersect, and brush against one another.

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