|
|
|
Spazio Oberdan
October 28th - February
26th 2006
V.le Vittorio Veneto, 2 (angolo P.zza Oberdan), Milan
|
Artists have always used every technique available
at a given time. Art and technique have always been
an inseparable couple, so strictly related one to
the other that ancient Greeks had olny one word
to name them: it was techne. Since 1999, Techne
is a biennial exhibition dedicated to the connection
between art and technique. It intends to prove,
and enjoy, the creative and innovatory use artists
can make of the state-of-the-art techniques, above
all the diogital ones. Techne allows to take a fascinating
trip in the world of images: not only to admire
them, but also to plunge into them, play with them,
and experiment the weaving between vision, hearing
and action. At the Spazio Oberdan we'll find an
up-to-date survey of video installations, from the
classical to the most extreme ones: the ones which
prove able to cast the image "beyond the screen",
and to create the pleasure of vision, but also a
shining and firm language innovation.
|
|
BILL
VIOLA ASCENSION
|
|
Bill Viola
is one of the best known and popular video artist.
He shows a video installation never presented
in Italy until now, that achieves rigorous precision
and simplicity. Like many Viola's works, Ascension
is a total environment, which shelters the viewer
in image and sound. We are uncertain if that body
floating is dead or alive, but its movement and
the sound rock us in an almost hipnotic way. And
the sudden end remind us the timeless cycle of
life and death.
|
|
|
AGON PHASES
|
|
Phases,
or: how the participant's behaviour can affect
the work. The dancer's rhythm changes according
to the viewer's greater or shorter distance from
the monitor. The viewer's movement generates differences,
and the differences generate selw-awareness. This
is a refined proposal by AGON group, which is
looking since 15 years for innovative forms of
music, image and theater.
|
|
|
ALESSANDRO
AMADUCCI SPOON RIVER
|
|
In this
installation one of the most active and fecund
Italian videomakers shows a stylised but precise
reconstruction of the daily settings for six characters
from Spoon River Anthology. Amaducci's reinterpretation
doesn't hide Edgar Lee Master's poetic text, on
the contrary it combines it with images and setting,
looking for the "contemporary in the past"
that constitutes the work's fascination.
|
|
|
ANTONELLA
BUSSANICH IL MONDO D'OGGI
|
|
This is
a journey among european youths, who answer with
a single word to a sudden question about today's
world. The installation is built around circular
structures and movements. By asking young people
"What's the first word that comes to mind
when you think of today's world?", Antonella
Bussanich did not intend mainly to raise a debate,
but rather, as she said, "establish an eye
contact, if only for a brief instant, with the
subject."
|
|
|
MARIO CANALI
M.OTU - VIRTUAL SUMO
|
Mario Canali has designed
on purpose for Techne this installation, which
is the last step of a long-attended research
about sensorial and bodily interactivity. In
this virtual version of the national Japanese
sport, the unconscious is more important than
intention: through sensors which record the
player's emotional state, computer interprets
body signs, as the wrestlers do in the real
play.
|
|
|
LUIZ DUVA
DEMOLIÇÌO
|
|
In this
interactive video installation by the Brazilian
video artist and VJ, there is more than sheer
entertainment. The screen shows itself to be a
wall: every time the visitor pushes the button,
a split opens up in the wall, till it is completely
demolished. Luiz Duva suggests that behind the
projected surface there is a volume: the screen
only exists to point out what lies beyond.
|
|
|
TERRY FLAXTON
THE DINNER PARTY (IL PRANZO)
in collaboration with British Council
|
|
Terry Flaxton's
shrewd and paradoxical installation contributes
to the deconstruction of traditional video. The
restless and versatile british filmmaker refuses
usual interactivity, and displays, instead of
a normal screen, a laid dinner table; then invites
the viewer, through a very precise projection,
to try to match the virtual fellows' gestures.
An unforeseeable and bewildering end follows.
|
|
|
media_FORMASUONO
CAPRICCIO SPAZIALE
|
|
Here we
are in the domain of sheer synesthetics (that
is, the exchange between different sensorial experiences.
"The question which is to be posed to the
hearer is not 'what do you hear?', but 'what do
you see?'", writes Francesco Rampichini,
who invented the term "acousmetry" and
is author (alongside with Ettore Lariani and Marco
Maiocchi) of this installation. We are invited
to "see" and "draw" sounds,
through an ingenuous but immediate code that links
geometric shapes to sounds.
|
|
|
ANDREAS
SACHSENMAIER L'ULTIMA CENA
in collaboration with Goethe-Institut
Mailand and Grohe Water Technology
|
|
Here is
an example of a manner very deeply "German".
We say "upsetting" or "disturbing",
they say "unheimlich", that is "not
familiar". As Freud explained in a well known
essay, it means that in an image or a situation
we believe to know rather well something stranger
creeps. L'ultima cena: there's the table, there's
the perspective, there's the light. But where
the guests come from? What have those ladies,
all so televisional, to say? What is that off
voice telling?
|
|
|
STUDIO
AZZURRO DOVE VA TUTTA 'STA GENTE?
|
|
They don't
knock politely, they don't ask as well-mannered
people. They crowd, they press, they want to come
in. Shocking images getting to reflection. Studio
azzurro suggests that every boundary (the physical
ones between the nations, and the immaterial ones,
like those between natural and artificial) are
brought up in discussion in this time. This installation
tells us destinies and desires of peoples which
meet and clash, in one of the most fascinating
metaphors of globalization yet produced by art.
|
.jpg) |
|
|
|
|
|
