Friedrich and Mattia Dallara’s new work emerges from the encounter between sound and visual memory. Piano and electronics become the soundtrack to a distant geography: fragments of Langepas—a city in Western Siberia—drawn from Dilyara Vakhitova’s family archive and filmed in the 1990s. These images document a family building a life in a region that was not originally their own—a story both singular and shared by many. Three decades later, the scenes return as material for dialogue.
This is not merely a musical accompaniment, but a conversation across time. The images meet a sound that does not illustrate, but rather evokes and allows itself to be transformed. The piano moves between silence and deep resonance; the electronics shape spaces, invisible currents, and emotional interferences.
Siberia is not only a geographical place, but an inner state. It is landscape, waiting, frost, oblique light. It is memory resurfacing without explanation.
Somewhere between musical and audiovisual experience, the work becomes a contemporary dialogue with the 1990s, a subtle love letter to a time and place that shaped a generation. It is an invitation to deep listening and contemplation, where sound becomes a lens and images turn into echoes — like a dream emerging from the ice.
