ISSN 2039-5426
Periodico Quadrimestrale
ANNO VIII, n.28, maggio-agosto 2018
/Four-monthly Magazine
Year VIII, n.27, May-August 2018

[CALL for PROPOSAL- English Version


roots§routes is a magazine with an editorial vision announced by its editorial board, which guarantees the quality and coherence of its contents. We consider it crucial to maintain an ongoing receptivity towards any submission of quality, provided it corresponds with the final vision shared among the editors. We therefore not only solicit work from artists and scholars, but also encourage submissions from contributors working in contexts that we do not know directly.

roots§routes announces a Call For Proposal, asking artists and scholars to submit proposals, beginning with the magazine’s theme for the upcoming quarter.

Submissions should be sent in the form of an abstract, with a maximum of 350 words, to the following email address:, with the subject heading “Article Submission.” Abstracts written in English, Italian, French, Portugues or Spanish are acceptable.

In the case of interest on the part of the editorial board, an email requesting the full paper will be sent to the author of the abstract. The paper is to be written in the language of the author’s choosing. The editorial board, upon receiving the full paper, reserves the right to request partial edits, or to reject the piece, in the case that it does not align with the earlier proposal.

For those interested in submitting materials, the themes for the upcoming issue of the magazine will be announced on this section of the website.





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Year VIII, n°28, May - August 2018
§ Throats Storming Heaven

curated by Silvia Calderoni
Ilenia Caleo
Viviana Gravano
Annalisa Sacchi

The voice. The capture of the speech, material and literal: the voice of women, feminist then and post-colonial now. We listened to the audio registrations of women’s demonstrations in the early 1970s: voices that speak out strong, decided, yet almost hoarse, juvenile, frail, of incontrollable strength, and method-less. Voices that precede the rituals of public “demonstrations” with set slogans, rhythms and inflections.

Voices that became traces flung within the public space, that became corporeal matter and that have incarnated a plethora of possible variations on the way one can be a voice. All those poets’ voices, vocal performances… Vicinelli who engraves records alongside written words, and the multitude gathered under the stage of Castelporziano to listen to these poets. It was not enough to read their words, those of Ginsberg, Ferlinghetti and Burroughs, one has to feel them incarnate, the throat, the grain, and the desire that the voice transpires.

And those for whom the voice is a double phoné, exploded, multiplied, amplified, swallowed and yet a matter that remains as the singular word, of a subject that says ‘I’, and feels disabled, sexualized, alcoholic, depressed, intoxicated and glorious. It is hence multiple, an unshakeable crowd of the handicapped, the sexes, the drug addicts, the depressed, the mad: everything hurled into the work and inside the beauty that eventually remains.

It is the voices of the processes of the 1970s and beyond, the voices of witnesses, those of the accused, and of the accusing alike. It’s the voices of free radio, of Radio Alice, the filming of the forcible evacuations of radios and live registrations, heard, edited, cut and returned to listeners, even many years afterward.

We assume the long time known as the ’68  (taken not as a single year but rather as a period of time), which weaves continuity and discontinuity of long threads, a time that begins with the labor battles of the early 1960s and stretches and precipitates into the 1970s. It is not a celebratory act, nor a commemoration, and surely not a historicizing, but an activation of partial perspectives and pluralizing voices. An audio assembly.

We are, therefore, searching for traces, for thoughts, for intimate areas that from here, the present, can reconnect us to this long period so that it can be reactivated. We are looking towards marginal presences, multiple subjectivities that can also be transitory, practices and writings, words and gestures to be read through the optical lens of performance, as an artistic practice between body and voice, but also as plural practices of corporeal resistance. Thus, to shuffle the subversive alchemy between aesthetics and politics that since then has been agitated and at times flared up, making the unforeseen appear.



publication 15th May 2018
abstract by 1st April 2018
contribution by 3oth April 2018


publication 15th July 2018
abstract by 1st June 2018
contribution by 30th June 2018