
By Rebecca Ceccatelli and Aria Ixchel. Cover image: courtesy of Carola Haupt.
In a reality where our senses are constantly bombarded by visual media, the importance of audio narratives is more crucial than ever, allowing us to reconnect with self-reflection and imagination while serving as a powerful source of creativity.
Recently, we had the opportunity to explore this topic with Carola Haupt, an inspiring independent radio producer whose work highlights the transformative power of sound. Through projects like Radio Papesse, the first “contemporary art radio” in Italy and the LUCIA Festival in Florence—”a festival dedicated to the collective listening of radio works and podcasts”—Carola showcases the unique potential of audio storytelling. In this interview, we delve into her creative process, the stories that inspire her, and her insights on the art of crafting compelling audio narratives.
How Podcasts and Audioguides Are Redefining Storytelling in Art
RC: Radio Papesse introduces itself as an “audio archive dedicated to contemporary art”. How did this idea of creating such a platform come to reality? Has there been any concrete input that led you to shape this project?
CH: The project officially began in 2006 in Siena within a building known as Palazzo delle Papesse, which was serving as a contemporary art centre in the city at the time.
During the early 2000s, audio and web radios emerged as experimental platforms for contemporary art. The idea to found this project came from a group of students with ambitious ideas who wanted to use sound as both a tool for critical thinking and a medium to tell the stories behind the scenes of contemporary art.
We were fortunate enough to find someone who gave us complete freedom to explore our ideas, and our collaboration with the contemporary art centre began. Although they didn’t provide direct financial support, they played a crucial role in helping us identify funding opportunities and introduced us to the field, which was a major step forward—a big, big thing. Being associated with an established contemporary centre granted us access to the inner workings of the art world, where much of the action occurs behind the scenes. It allowed us to meet artists, document their practices, and, most importantly, explore the reasons behind their choices—why they worked in specific ways, selected particular materials, and engaged with certain discourses.
So, the project basically evolved from a group of young adults in their 20s. As we grew, the project grew with us. It was a big opportunity that we seized. If you don’t try, you can’t fail; if you don’t fail, you can’t better yourself. But if you never give yourself the chance to try, you won’t experience failure.
We often have this obsession with the idea that everything must be perfect from the very start, but that is not the case. If everything were perfect from the beginning, it would be standardised—just a replica of something else—and you would never have the chance to discover your own voice.

AI: In a world where podcasts and audiobooks are gaining popularity, what distinguishes the audio content produced by Radio Papesse?
CH: The word ‘podcast’ emerged later, at a time when we were already producing podcasts without people knowing what they were. Eventually, we stopped using the term because it confused people.
We are a very small and independent organisation, but I think that what sets us apart is our commitment to persevere without taking ourselves too seriously. Plus, we have always fought to ensure the content we receive, produce, and support is accessible to everyone by uploading it online. Over the years, we have found that much of this material has become valuable, sometimes even serving as educational resources for study. For us, it is essential to keep everything as accessible as possible, making it one of our main strengths.
RC: Since you work with institutions and museums, how do you believe this medium can enhance the audience’s experience and interaction with art?
CH: This is a very personal response for me. Ever since I was a child, I have always struggled with visiting museums and listening to audio guides that merely describe what’s in front of you. An audio guide should offer more than just what I can see; I want to discover the stories behind the artwork—such as the materials used, the restoration techniques, and the people portrayed.
That’s the approach we immediately took with Radio Papesse. At the time, the Palace didn’t have audio guides, so we created them in collaboration with the curator, Lorenzo Fusi.
Today, whenever we have the chance to collaborate with museums or institutions, we continue to follow this approach. I find it extremely interesting because there are countless ways to explore it. Additionally, it becomes something valuable because it has the power to endure long after the shows for which it was created, ready to be enjoyed again across space and time. The key word here is imagination.

RC: In recent decades, wearing headphones has often served as a way to escape from the world, allowing us to take time for ourselves and transforming the act of listening into a personal experience. How do we transition from this intimacy to a festival like the Lucia Festival, where listening becomes a collective act?
CH: I think that both individual and shared listening experiences can complement each other. On the one hand, we engage with content like podcasts – which are designed to captivate our attention, allowing us to immerse ourselves and disconnect from the outside world. On the other hand, listening to sounds with others creates a completely different experience. Just as watching a film from your bed differs from seeing it at the theatre, the experience is inevitably transformed by the social setting.
Collective experiences establish a ritual of going to a specific place in person, sitting down and waiting for something to happen. Adding a social element to the act of listening really enhances its value and also heightens our levels of attention. It also becomes an exercise in empathy and compassion, as we can share in the emotions and reactions of those around us, enriching our overall experience.
AI: The reason this project keeps going and is so successful is that you consistently invest your time and energy into it. What would you say is your inner motivation? What calling do you feel you’re responding to?
CH: I’m a nerd. That’s it. Jokes aside, this project has been going on for so many years, and so many people have generously contributed their time and effort.
Especially Ilaria Gadenz, the co-curator with whom I’ve collaborated for 18 years. Of course, we’ve also worked as freelancers and engaged in other projects, but we always try to return to our main project.
The generosity of the people involved over the years has never been driven by trends. We never followed a fashionable path, which some may view as a limitation; however, this choice also helped to reinforce the identity of our organisation, allowing it to stand on its own.
Working out of passion, even when the financial returns are minimal, is different from simply following trends and repeating the same things over and over. So, passion could be the answer to your question.

RC: As a society, we are increasingly losing our ability to focus for more than just a few minutes. When performing an audio work, do you use any creative strategies to help the audience maintain their attention?
CH: First, using subtitles in videos can be beneficial for accessing works in languages we do not understand, so text can enhance concentration while listening. Then, there’s the collective element; the fact of being in the same space as other people, all focusing on the same performance, plays a significant role. Plus, even the seats matter. They have to be comfortable enough for 40 minutes of engagement sometimes. Lastly, the intentionality of the person attendees is crucial. When individuals come with the desire to engage with the work, it further helps them maintain their concentration.
From my own experience, I can confirm that the lack of attention is alarmingly increasing. However, it’s also amazing when you manage to maintain focus for an extended period and, at the end, you realise you didn’t even notice the time passing. Did I really spend 54 minutes listening to a Slovenian piece? It’s incredible because that composition was crafted in such a way that transported me somewhere else. It unlocked my imagination and allowed other thoughts to fade away.
AI: How do you ensure that the festival remains accessible to both newcomers and seasoned enthusiasts of auditory art?
CH: Many audio narrative festivals take place around the world, and most of them require tickets.
Some festivals may focus on specific content, like podcast festivals that emphasise speaking over listening. We, on the other hand, strive to preserve the essence of a listening festival. Additionally, ì because we are primarily funded by public money, we are able to keep the event free, ensuring accessibility for everyone.
This certainly helps new visitors feel welcome when they come to us for the first time but also encourages veterans to return from different parts of the world. Approximately three-quarters of our audience comes from all over Europe. It means that we are offering something that they can’t find elsewhere, which is great.
Moreover, having the artist present for each screening is essential for us. Their presence can motivate attendees to get out of their seats and meet the artist. Creating this moment of connection is really important.

RC: Now that the Lucia Festival has completed its 5th edition, have you observed any noticeable shifts in public engagement over the years?
During the pandemic, the impact of podcasts was incredible. Before COVID, there were very few listeners, but afterwards, everyone started creating them. There came a point when we no longer had to explain what a podcast was.
However, our podcast format tries to demonstrate that there is much more to podcasts than just chat shows or informational programmes—though those can be excellent and beautifully produced. That’s not what we offer at Lucia. Our focus is on presenting produced and scripted content, which I believe sets us apart.
AI: What advice would you give to future creative minds who are currently developing their identity in the art field?
Three things. First, don’t take yourself too seriously. A big problem is that people often do. Second, don’t follow trends. Instead, choose something you truly believe in and you genuinely care about. Finally, stay humble and always curious. Maintain that excitement for learning by observing how others approach their work.
