Negus by Invernomuto

a graphic with text reading "all the birds sing bass"
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Negus (2011–2016) is a cross-media project that explores the convergence of history, myth, and magic through the ambivalent and manifold legacies of Ethiopia’s last emperor Haile Selassie I.

Embodied through Lee “Scratch” Perry—godfather of dub music and foundational to the sound and culture of reggae—Negus evokes a spiritual ghost hovering over Black Ark, Perry’s personal recording studio in Kingston, Jamaica that he burned to the ground in the 80s. At the same time, Perry becomes a master of the ritual fire ceremony performed in the artists’ hometown of Vernasca, Northern Italy, to re-invoke the spirit of Ethiopia’s last emperor. As part of All the Birds Sing Bass, this scene kicks off Invernomuto’s presentation at Nottingham Contemporary, browsing through the Negus archives, Invernomuto will explore peripheral notions of infrasonics, touching upon other projects developed in the last years.

About the event

Free. Limited Capacity.

Booking is required.

The duration of the event is 90 minutes. A rest break is not included. Seating is available.


Find information about getting here and our building access and facilities here.

Speakers will use microphones.

This event is wheelchair accessible.

There are no audio descriptions for this event.

If you have any questions around access or have specific access requirements we can accommodate, please get in touch with us by emailing or phoning 0115 948 9750.

Safety during your visit

Please do not attend this event if you/someone in your household is currently COVID-19 positive, has suspected symptoms or is awaiting test results.

Staff and visitors are welcome to wear a face mask in all areas.

Invernomuto is the name of the artistic personality created in 2003 by Simone Bertuzzi (Piacenza, 1983) and Simone Trabucchi (Piacenza, 1982. They work and live in Milan). Invernomuto is the author of a series of research projects structured in time and space, from which cycles of interconnected works derive. On a common theoretical basis, Invernomuto tends to think in an open and rhizomatic manner, developing different outputs that take the form of moving images, sounds, performative actions and publishing projects, within the framework of a practice defined by the use – as diffuse as it is precise – of different media. Reality is observed according to documentaristic principles and interests, but for the purpose of creating an imaginative and almost abstract representation, which offers wide margins for reflection and critical interrogation.

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