Darko Maver THE GREAT ART SWINDLE Do you ever get the feeling you’re being cheated? A disclosure by 0100101110101101.ORG and Luther Blissett I declare that I have invented the life and the works of art of the Serbian artist Darko Maver, born in Krupanj in 1962 and dead at the Potgorica penitentiary on April 30th, 1999.Darko Maver was born and lived in the Balkan area, which nowadays is being ravaged and plundered by the economic and geopolitical interests of the mighty, by the forces of different ethnic groups and in the end, by the vulture-machine of the media.Darko Maver was a politically incorrect artist, his performances hard to digest; nevertheless he was ready to be absorbed into the art system. His work, once properly homogenised and deprived of its expressive force, was ready to go through the canonical way which links galleries, exhibitions, the art market, and finally takes to the eternal peace of the museum, apex of an anaesthetic process, of disarmament and sterilization, a process which art has always suffered.The museum is a sheer temple where art is celebrated, faked and degraded, just as prison degrades life making it unrecognisable. And the theorem, once more, proves to be exact: an artist (an identity), a style, the works… and the system is ready to absorb everything and turn life into commodities. …all this won’t happen to Darko Maver. Because Darko Maver doesn’t exist! Because his works don’t exist!

PART I: BIOGRAPHY/ THE CREATION OF THE CHARACTER Darko Maver, real name of a well known Slovenian criminologist, is a media creature. Studied in details to penetrate the resistance of the art system, new Trojan horse, Darko Maver hasn’t failed. At the moment of his recycling – unavoidable destiny of any thought/action, even the most extreme and radical, under capitalism – when his hands were already tied, he vanished, revealing all his potential.

PART II: THE WORKS/THE MYTHOPOESIS The diffusion of the name and works of Darko Maver is an active riot against any dominant form of art. Where the borders between reality and false, if they exist at all, are so thin that often the roles exchange and reality copies imitation, Darko Maver is an essay of pure mythopoesis.The dreadful images of foetuses and aborts, alleged evidence of Darko’s activities at the Belgrade Academy, were true, yet, without effort, we made people believe they were huge PVC and fibreglass sculptures, even wearable!The famous ‘Tanz der Spinne’ is made of images of real deaths, rapes and violence of many kind; no dummy ever existed and no Serbian newspaper ever reviewed Maver’s performances. All this inventory of horrifying images can be found on the Internet site http://www.rotten.com and other sites like that, accessible to anybody who have a strong stomach.Maver’s very face was actually that of Roberto Capelli, a long-time member of the Luther Blissett Project in Bologna. The reality of images regarded as simulation balances the inexistence of an artist regarded as real. But an artist, to be true, needs a poetic, a theorisation of his work. Here are the ‘Dimension of the Extrabodies’ and other wild texts, absolutely impossible to read – parodies of too many nauseating theories on mutations/contamination – no way one can find any meaning in them; texts which an art critic, during the last exhibition on the ‘Darko Maver affair’ (Rome, September 9, 1999) indignantly claimed they had actually been written Francis Bacon! In the beginning were two web sites, the only « proof » of Maver’s existence. However, the Internet as medium gives no guarantees, on the contrary, the easiness to confuse identities is part of its own nature; being on the Internet was not enough for anyone to be interested in the Serbian artist’s work. Darko Maver, or at least his works of art, was to materialise to be noticed, and so they did.

PART III: THE JAIL/THE EXHIBITIONS In August ’98 a well known gallery of Ljubljana, the Kapelica Gallery, exhibited the documentation of ‘Tanz der Spinne’, creating a precious precedent for the following exhibitions dedicated to the elusive artist. Soon came the Bologna exhibition, on 18-19-20 of February 1999, during a benefit show for freedom of speech, which showed many works of different artists like Liberatore, Martin, Manara. Hundreds of attentive visitors pressed in the room dedicated to Darko Maver. Shocked by the performances images – the originals have been censored and destroyed – they tried to find an explanation-comfort in the texts. Result: since February ’99, after only a few months of life, Darko Maver was already a myth; at least in the underground. The propaganda continued: the works’ censorship, their destruction and the arrest of Darko on charges of anti-patriotic propaganda. On the net, accounts of these events were posted to hundreds of subscribers of the « EntarteteKunst » (http://www.EntarteteKunst.org) newsletter, provoking mentions and links in other sites; at the same time some articles were published: « Flesh Out » (#3, April ’99) dedicated two pages to the life and works of Maver while « Tema Celeste » (#73, March ’99) published an imprisonment-related solidarity press release. The arrest had allegedely taken place on January 13, 1999 around the Kosovo area. Many other news pieces followed. Very often, Maver was cited as an example of censorship, other times only mentioned. That was the time in which the situation in Kosovo, already intolerable, bursted out with the NATO intervention in the Balkan area.

PART IV: THE DEATH/ THE MYTH The 30 of April 1999 Darko Maver’s death was announced. The picture of the corpse spread itself and roused some intriguing questions: homicide? Suicide? The final, tragic performance? This last act of Darko Maver’s life was explained in a clear and sharp article, « Puppets of war », appeared on environmentalist magazine « Modus Vivendi » (July – August ’99). According to then author, the life and works of Darko Maver might be read as a critique to media exploitation/manipulation of the victims’ images in the war. From death to myth was a short step. It was time to celebrate the Serbian artist dead under the NATO bombing. On June 12th ’99, at the Bienniale of young artists, in Rome, the theatrical group sciattoPRODUZIE dedicate to the martyr his performance titled ‘Awakening, a tribute to Darko Maver’ and showed one more time the documentary stuff on his work. On September 23rd, at the 48th Art Biennale in Venice, was presented the documentary « Darko Maver – the art of war ». On September 25th, the « Forte Prenestino » squat/multimedia centre in Rome hosted a retrospective dedicated to the work of Maver. The exhibition included the whole documentation of the ‘Tanz der Spinne’ installation and the previously unpublished ‘Darko Maver early works’ : collages and sculptures made in the early 80’s. The presence of Maver at Venice Biennale was surely the highest achievement in the long process exposing the permeability of such a vulnerable system like the art world. Darko Maver: The Art of War 48th Venice Biennale, Italian pavilion, September 1999 After several successes, Darko Maver is officially invited to participate in the 48th Contemporary Art Biennial of Venice. The invitation represents the final seal on the Serbian artist’s fame. On the 23rd of September, a delegation of several representatives of Maver’s work, creates a spectacular installation presenting a preview of the documentary « Darko Maver. The Art of War ». The documentary is projected endlessly in a dark room, inside the Italian Pavilion, while the floor is covered by thousands of mourning flyers. The installation is a success, hundreds of people see the documentary and the cruelty of some of the scenes provokes several debates. Darko Maver’s work is finally seen and appreciated by the best of the art world public. His work is inevitably interpreted in many contrasting ways: to some it is the consequence of the actual situation in the Balkans, to others the last possible form of radical body art, to someone else a post modern art form, the heir of historical avant-gardes. The appeal of Maver, to the eyes of this kind of public, lies in the mix between violence, art and actuality. Darko Maver One of the biggest artistic deceptions in recent years Darko Maver was undoubtedly one of the most enigmatic figures of the art world in recent years. The rumors about Maver and his work began in 1998 within the circles of underground artists in Europe: an artist wandering in decaying Yugoslavia, living in motels and deserted buildings, creating crushed plastic dolls that remind us of abused tortured people. In Yugoslavia, Maver was accused of anti-patriotism, his work was censured and he was persecuted. Later on, copies of his works were shown in exhibitions around Europe. In the beginning of 2000 « The Great Art Swindle » is revealed to the whole world. In a long press release the artist duo known as 0100101110101101.ORG claims the operation: «I declare I’ve invented the life and the works of the Serbian artist Darko Maver, born in Krupanj in 1962 and dead in the prison of Podgorica the 30th of April 1999» As expected the story spreads all over the world and provokes a heated debate. The reactions are countless and contradictory. rt, Death & Mythopoeia The Darko Maver Story «Learn the rules so that you will know how to break them properly» Dalai Lama The myth At the beginning is a website. The only evidence of Darko Maver’s existence is a website containing a dozen photos. Starting from his biography, Darko Maver – the real name of a well known Slovenian criminologist – was created to the last detail to quickly penetrate the defence system of culture, and therefore of the art world. His biography is the archetype of a damned artist supposedly coming from Eastern Europe: «Born in Krupanj, a small mountain village a hundred kilometres away from Belgrade, Maver is abandoned by his parents at the age of eight. After spending some years in an orphanage, he is adopted by the family of a weapons trader. In 1981 he enters the Fine Arts Academy of Belgrade, where he begins a bizarre and obscure theorization on the « Dimension of extra-bodies », making sculptures with wax and plastic» [1] The only evidence of these supposed « sculptures », made in the Belgrade Fine Arts Academy, are terrifying photos of authentic foetuses and abortions. The photos and the foetuses come from teratology archives, found in medicine universities and in specialized libraries of hospitals. «But the academic environment in the years following Tito’s death doesn’t satisfy the anxious and aloof young man who, after several clashes with the scholar authorities, leaves the Academy without finishing his studies and moves to Ljubljana, where he gets in touch with the musical and artistic avant-garde scene of the city. In 1990 Maver leaves also Ljubljana and his trail becomes confused coinciding with the stages of his new artistic project, « Tanz der Spinne » (Dance of the spider)» [2] Maver starts being a politically tough artist: «Subversive, alarming and questionable» [3]. His performances are more and more difficult to be digested. It’s exactly in this period that he starts to realize the installations for the series « Tanz der Spinne ». «Even just speaking of the actions that are part of the project « Tanz der Spinne » is somehow difficult. Installations? Performances? Both, but of a very special kind» [4] They are simulations of violent murders. Maver used to build hyper-real mannequins of corpses and then leave them in public places such as hotels, hospitals, houses, public toilets or in the countryside. Later somebody arriving on the crime scene called the police believing he found a real corpse. The installations were so skillfully made that, at first glance, it was almost impossible to realize they were splatter-movie like reconstructions. The fact used to provoke strong reactions by the media, punctually reviewed for each discovery. Installations that are part of the series « Tanz der Spinne » are, for example, Skinned Rembrandt (Paklenica 1991), Deposition (Biograd 1992), Eurotic (Budva 1993), Garbage (Cavtat 1993) and Ecce homo (Bar 1994). Maver doesn’t claim his shocking actions: «It took the police a lot of time to make a connection between these macabre jokes and Maver’s name and for a while, between 1990 and 1993, somebody has even ventured the conjecture that Darko Maver didn’t exist at all, that it was the pseudonym of a group of corrupted artists or terrorists willing to spread panic among the population» [5] Every work is followed by its own documentation: articles, apparently coming from Yugoslavian newspapers and magazines such as « Nasa Borba », « Blic » and « Politika », talking about the discoveries and starting to identify the artist’s poetics: «Darko Maver’s performances are so straight that no critic, with his redundant rhetoric, would be able to translate the traumatic experience, in terms of shock, of whom has lived them» «The goal is to penetrate the crime news of the major national newspapers, art magazines and police archives to build an image of himself that is at the same time one and manifold, capable of producing awareness of the changes that media produce in the sensorial perception» [6] The best artists, as we all know, have always theorized on their own work. Darko is no exception and becomes also a poet. Here come texts like « The Dimension of Extrabodies » and « Anaforagenetica »: «Two rare writings by Darko Maver, written in Ljubljana in 1990. It’s hard to find a definition for these texts, in which Maver joins poetry and theory in one suffered whole» [7] Actually, these dashed off texts are a parody of a certain kind of « radical art » that never goes out of fashion. Though it is impossible to find any sense in these texts, somebody is not satisfied; an art critic, during an exhibition in Rome, declares: «These texts don’t belong to Darko Maver, they’re plagiarised by Francis Bacon!» No mannequin ever existed and no Serbian newspaper ever reported Darko Maver’s performances. The images, that have been believed as « mannequin pictures » are actually photos of real crimes, horrifying images of corpses available on the Internet on websites like www.rotten.com, at disposal for anybody whom has guts enough to watch them. The reality It’s the summer of 1998. At this time the ingredients are ready: a name, a biography, the early works, the « mature » ones, a couple of poems, dozens of photos and articles that testify his importance. The art and life of Maver become tangible, passing from fiction (the websites) to reality: the exhibitions. In August 1998, Kapelica, a well known gallery in Ljubljana, shows the documentation of « Tanz der Spinne ». The legend wants that he had been excluded from the collective exhibition « Body and the East », an important show held in Ljubljana in the same period. In October 1998 a new law is released in Yugoslavia punishing, even with imprisonment, any action or statement considered « anti-patriotic ». As a result of this law Maver is arrested by military police, in the Kosovo area and imprisoned in Podgorica: «Maver is still kept in prison without a regular trial and is accused of « hostile propaganda », « support of violent acts », « writing texts with subversive and slanderous content » and of « planning and glorifying violent and armed acts moved by hostility towards the State ». « In such hard times the parody of fear and blood is intolerable » declares the weekly magazine Zona Sunraka» [8] But the art world doesn’t agree and intervenes in favour of the artist: «In Darko Maver’s work is evident the full consciousness of the fundamental role of public opinion, connected to the mechanism of information, in contemporary society» [9] Following the imprisonment, in February 1999, an exhibition is organised in Bologna called « Darko Maver – Exhibition of the censored works ». The show is announced with a press conference and advertised in the whole city. Hundreds of alert visitors crowded in a small room, a claustrophobic atmosphere. Not everybody could enter and many visitors do not tolerate the sight of his most cruel works, shocked by the performances images, whose originals had been censored and destroyed; they search for an explanation and comfort in the critical texts. The result: from February on, after a few months of life, Darko Maver is already «one of the most disturbing and mysterious characters of the underground art scene in years» [10] The work of mythopoeia continues on different fronts. On the Internet the press releases spread like wildfire, reaching hundreds of thousands of mailing lists and newsgroup subscribers. Any piece of news concerning Darko Maver is mirrored by dozens of websites and regularly provokes reactions and debates. There are already three websites on Darko Maver’s life and work that are constantly updated. At the same time some articles are published in specialized magazines: «But who really is Darko Maver? It is difficult to answer this question. Like Thomas Pynchon and Jerome D. Salinger (but maybe not for the same reasons), the Yugoslavian artist seems to do all his best in trying to keep his life and activities in the shade. To give an opinion on Maver’s work is difficult. In his work one can find some influences from the most radical body art of the last years (Viennese actionism, Stelarc) but these references are almost ridiculed and mocked. Maver plays with the role of media; with his hoaxes he hints suspect and diversion with the intent of formulating a practical critic of the dominant ideologies and the mechanisms of creation of « public opinion ». Of course his actions (as well as his theories) are more than questionable» [11] In this very period the situation in Kosovo, already intolerable, breaks out with the intervention of NATO troops in the Balkans: the time is suitable to kill Darko Maver. As any authentic artist, Maver must « live fast and die young »: on May the 15th, press agencies receive and spread a shocking release: « The Serbian artist Darko Maver has died in the Podgorica prison »: «Maver was in the Kosovo area months before the war started, he was arrested in January and from what we knew he was imprisoned in the Podgorica jail. The news of his death has reached us after several months of silence together with a photo that testifies with no doubt that Darko Maver was assassinated. It seems like a hoax that an artist like Maver finishes his life this way, because during his life he has always played with death» [12] Together with the announcement of Maver’s death comes the image that will soon go down in history: the only evidence of Darko Maver’s tragic death in the Podgorica prison. The photo, taken in a garret in the centre of Bologna, is banal enough to be believed as true. But an alarming question starts to circulate among people that know Maver’s work: is this a real assassination or a suicide: his last tragic performance? «From the day of his arrest no one had received any news on the « provocative » artist, till May when, on the Internet, started to circulate the image of his last tragic performance: his death in prison in circumstances that maybe will be never made clear. An image that seems to integrate perfectly in his poetics as well as in the simulative aspect of a war that he followed from behind bars» [13] The image of the corpse spread rapidly on the Internet and through the press. The articles illustrate how Darko Maver, his works and history, can be read as a critique to the reality of media and the exploitation of images of victims of war: «Today more than ever his performances not only cast a racking doubt on the reality of those war images – often coming from sources of difficult verification – but most of all provoke a radical interrogation on the propagandistic use of suffering bodies. Maybe Darko Maver’s mannequins have been replaced with real bodies of Albanian refugees, of slaughtered Kosovo people, of Serbians under the ruins?» [14] From death to myth the distance is short. Time has come for the celebration of the Serbian artist dead under the NATO bombings. The 12th of June 1999 during the Biennial of Young Artists in Rome, the theatre group Sciatto Produzie dedicates to the Serbian artist its performance-piece « Awakening. Tribute to Darko Maver ». At the same time there is an exhibition that shows his work. It’s a tragic and aggressive spectacle. Dozen of bloody puppets are hung to the ceiling with butcher hooks. Some spectators are taken and tied on the stage while a group of performers hits the puppets spattering blood on the beholders. Flyers rain down from the ceiling covering the astonished public. The performance strikes for its cruelness and is a success. On September the 4th an unidentified group of people intervene at the Venice Biennial of Art, pasting hundreds of stickers on sculptures, photos and paintings. The stickers show a cross and the writing « Darko Maver 1962 – 1999 ». According to the press: «They are the dates of birth and death of the Serbian artist Darko Maver that recently made people talk about him everywhere, especially after his death, which took place in May ’99 in the jail of Podgorica». The day after, when the action is discovered, the works get « restored ». Nobody will get to know who the authors of this action are, an action that will remain unclaimed. The 25th of September Forte Prenestino in Rome hosts a retrospective show, « Darko Maver Tribute 1962-1999 »: «On show are writings, installations and the early works of the controversial Serbian artist recently disappeared in the prison of Podgorica. The Roman exhibition, made possible by the collection Sprizzi & Rondelet, is of great attraction for Maver’s early works, especially by sculptures and collages realized in the early 80’s that had been never been exhibited up till now» [15] At the end of the exhibition some of the collages are mysteriously stolen, to be probably resold afterwards in the art market, where the death of the artist means an increment of his commercial value. After several successes, Darko Maver is officially invited to participate in the 48th Contemporary Art Biennial of Venice. The invitation represents the final seal on the Serbian artist’s fame. On the 23rd of September, a delegation of several representatives of Maver’s work, creates a spectacular installation presenting a preview of the documentary « Darko Maver. The Art of War ». The documentary is projected endlessly in a dark room, inside the Italian Pavilion, while the floor is covered by thousands of mourning flyers. The installation is a success, hundreds of people see the documentary and the cruelty of some of the scenes provokes several debates. Darko Maver’s work is finally seen and appreciated by the best of the art world public. His work is inevitably interpreted in many contrasting ways: to some it is the consequence of the actual situation in the Balkans, to others the last possible form of radical body art, to someone else a post modern art form, the heir of historical avant-gardes. The appeal of Maver, to the eyes of this kind of public, lies in the mix between violence, art and actuality. In the beginning of 2000 « The Great Art Swindle » is revealed to the whole world. In a long press release, starting with the famous quotation: « Do you ever get the feeling you’re being cheated? », the couple known as 0100101110101101.ORG claims the operation. «I declare I’ve invented the life and the works of the Serbian artist Darko Maver, born in Krupanj in 1962 and dead in the prison of Podgorica the 30th of April 1999» [16] Together with the news comes a photo in which Darko Maver resurrects in the same room in which he was found dead: in his left hand he carries an article showing his face and reporting his imprisonment. The photo was actually taken few minutes after the one portraying his death. As expected the story spreads all over the world and provokes a heated debate. The reactions are countless and contradictory. During almost two years, dozens of people in Bologna, Milano, Ljubljana, Roma and Venezia have staged «one of the biggest artistic deceptions in recent years» [17]. A performance that elevated media manipulation to the status of art, and that transformed the most radical mythopoeia in one of its highest forms. «If we didn’t kill him – declares Franco Birkut spokesman of 0100101110101101.ORG – and later revealed the prank, Darko Maver would have gone on living and making people speak about him through exhibitions, articles, documentaries and catalogues, nobody would have stopped us in continuing our narration, because this story is just too good to be false». FOOTNOTES [1] F.A.C., Darko Maver Biography, first published on the Internet, 1998 [2] See note n. 1 [3] See note n. 1 [4] Antonio Caronia, Darko Maver, in Flesh Out n. 3, April – May 1999 [5] See note n. 4 [6] F.A.C., Tanz Der Spinne, first published on the Internet, 1998 [7] F.A.C., Darko Maver Writings, first published on the Internet, 1998 [8] F.A.C., Serbian artist Darko Maver arrested in Kosovo, appeared in Tema Celeste n. 73, March – April 1999 [9] See note n. 8 [10] See note n. 4 [11] See note n. 4 [12] F.A.C., Serbian artist Darko Maver found dead in Podgorica prison, press release, 21 May 1999 [13] Andrea Natella, War puppets in Modus vivendi, July – August 1999 [14] See note n. 13 [15] Darko Maver Tribute, Rome, Forte Prenestino, 25 September 1999 [16] 0100101110101101.ORG, The Great Art Swindle, press release, 6 February 2000 [17] Uri Pasovsky, Life imitates art and art imitates itself, from the Israeli newspaper Haaretz, 19 September 2000 Feedback «Darko Maver was undoubtedly one of the most enigmatic figures of the art world in recent years» Uri Pasovsky, Haaretz «Darko Maver, 37 years old, dyeing in the military jail of Podgorica under the Nato bombings, produced attention and alarm, up to rise to the honour of the Venice Biennial. Darko Maver, unfortunately, doesn’t exist» Loredana Lipperini, La Repubblica «Tanz Der Spinne consisted of images of murders, rapes and violence of any kind, but none of the performances took place for real, and no Serbian newspaper ever reported them» Erewhom «The horrifically maimed, bleeding and decapitated waxwork figures Maver had made his name with – photos of which had been widely circulated – weren’t models at all, but rather photographic documents of actual atrocities, several of which had taken place in Maver’s « home » patch of the former Yugoslavia» Ada Veen, Mute magazine «One of the biggest artistic deceptions in recent years» Uri Pasovsky, Haaretz «Of course, once again, pulling the strings behind the curtains, there couldn’t be nobody else than them, who, using fantasy, sarcasm and the endless catalyzing strength of the Net, created a man out of nothing, his works and finally his fake death» Noemalab «The group members tried to show the world an artist didn’t require supposedly divine inspiration and a tortured soul. It was equally important to get the attention of magazines, critics and galleries. Darko Maver and his « work » were a Trojan horse that had successfully been introduced to the art scene» Uri Pasovsky, Haaretz «The intent is on the contrary to demonstrate how controlling/using the media, old and new ones, and with the complicity of collective excitement for the war in Kosovo, was possible to create a successful artist: from zero to the Venice Biennale in less than a year» Loredana Lipperini, La Repubblica «If an inexistent artist can become famous in only one year, which seriousness can still pretend the conceited circuit critics-organizers-museums?» Marco Vallora, La Stampa «The action is not only drawn at criticizing the mechanisms of selection of the art system. On the contrary, it stresses the attention on the artificial construction, on the creation of a collective narration that produces the birth of a myth. The realistic effect produced by this fiction, is based on the intimate knowledge of the mechanisms of narration that are the base of the media reseaux» Marco Deseriis, Rai «The most interesting thing in all this story, in my opinion, is that it brings out, with the power of the joke, the social nature of artistic production. If someone in whom I trust doesn’t certificate the existence and the value of an artist, the artist doesn’t exist» Antonio Caronia, l’Unità «Put it as you want, but in the end the dualism deals always with the same problem: reality, and the representation of itself. Somebody, like Velazquez, has openly proposed the problem, revealing, even though the game of mystery, that the perspectives of representation don’t define, they rather invent. The novelty is rather in the fact that the dualism, with all its implications, has overflow in all the other human activities. In the game ones, in politics, even in the worst and tragically concrete of all expressions, war» Gino Castaldo, Musica! «But Maver’s reality is more than semiotic: it’s mythopoetic too. With the revelation of his inactuality, a real death and a hundred simulated ones were suddenly transformed into a portal opening to our age’s own grotesque political – and ontological – Unconscious. Pan, it turns out, lives» Ada Veen, Mute magazine «The most interesting evolution is the intersection of hacking with aesthetics researches: to produce a crisis into a system, its own proceedings can be retorted against itself. The tendency is similar to the hacker one: it doesn’t matter how big a system can be, it always has an Achille’s heel» Gianluca Miscione, Internet News «Darko Maver confirmed the existence of a place of liberty where even if cumbersome economical and power structures do exist, it is still possible to play and to poke fun at them. As a laugh can hide deep anguishes, also this play can be serious» Maria Mesch, A Rivista «Thanks to one of their biggest and most cynical frauds, they were even part of the Venice Biennale, which only strengthens their criticism of the art world, both traditional and on-line» Uri Pasovsky, Haaretz «As some researchers has since long time predicted, the web could be the most clamorous and uncontrolled propagator of fakes that history has ever produced» Gino Castaldo, Musica!