A New Social Contract
By Elena Giulia Abbiatici
Michelangelo Consani, Tensions from below, installation, 2015.
is a cable that becomes the horizon line of a “new landscape” and at the same time a barrier-border that needs to be overcome, making a gesture that is similar to a “bow”.
This bow is a simple gesture that becomes an act of individual responsibility, which aims to a change of position in respect of our being in the world.
“It is necessary to produce profound changes in the psychosocial organization of Western man, in his attitude towards life, essentially in his imagination. (…) It must be abandoned the capitalist imaginary of a pseudo-rational pseudo-control of the world. Only men and women together can make it. An isolated individual, or organization, can at best prepare, criticize, encourage, outline of possible orientations.”
is “A NOMADIC CANVAS-BASED ARTIST RUN EXHIBITION SPACE” founded by Paolo Chiasera in 2013. Otherwise it’s a painting that functions like a space. It’s a painting that is at the same time an exhibition space. The imaginary allows the artists to define a new productive meeting place, thus allowing new modes of collaboration. Wedding as a new marriage ceremony between a canvas and new territories, new guests artists, new meanings every time.
THE SOCIAL RELATIONSHIP
Rä di Martino , Works that could be mine and works that I would like to be mine, ongoing.
This is an ongoing written project Ra di Martino started in 2004. It was born by taking notes of other artists’ works that bear a striking resemblance to ideas I have had but have never done or works that I feel close and I like so much I almost wish I had done myself. I catalogued these as: ‘works that could be mine’ & ‘works that I would like to be mine’. She also started to consider what other artists’ lists would be like and she has invited other artists to fill in these two lists in different contexts and with different types of publication. For this occasion, Ra di Martino will invite ohter artists involve in “Something else” to put there work in dialogue. The answers will be presented in the show as an ongoing project.
Chiara Passa, Postcards from beyond, from elsewhere…, series of N widgets, 2015
“Postcards from beyond, from elsewhere…” is a series of several interactive widgets ready to be installed between the desktop interface and the dashboard, just writing few simple command lines in Terminal.
The widgets unfold in a very liminal space/place: between the network and the computer – between the Internet and the post Internet. So, the Widgets are the conjunction between the medium and the message.
“Postcards from beyond, from elsewhere…” is the metaphor of a new imaginary and interactive media that would mediate impossible desires between machine and audience. These sorts of ‘spiritualist widgets’ are absorbed into an illusory threshold, hence they can be augmented through AR, or they can answer replying to some existential and philosophic questions… being totally dynamic and interactive.” (Chiara Passa)
Shady El Noshokaty, A lesson in geography, performance, 2015 (one shot day)
The lecture offers new visual research to question the concept of the place and the concept of Nations’ geographic borders.
How can we define our reality state when we have been turned into something similar to electronic molecules, moving in fast speeds through networks, online controlled from some unknown flouting site in the space?
Is the space in our mind or in the universe around us? The concept of the lecture performance is a combination of visual experiences and Informatics, which may force the recipient to physic or even mental interaction. The performance will try to create answers and relationships between various conceptual experiences, through direct readings, drawings and live performances. Topics take an interdisciplinary position, which tends to blend at the same moment between science, areas of visual research and intellectual differences. The participants in this case become greeted with their own creative answers and can create a unique way of experiencing information. It may have a significant impact in the way they perceive what they learn in their future.
Robert Cahen, Alessandro De Francesco, Matias Guerra, This is an Unknown Surface, video, 2013, 11’
“This is an Unknown Surface” is an oneiric voyage in the interaction between writing and perception, and between nature and culture. Language is filmed on four interwoven surfaces: an ancient stone in a Chinese temple, the written work of a contemporary artist, a software-processed voice reading a poetically dense text and mysterious lotus leaves that preexist to writing and exist beyond writing. Entirely shot in fisheye, this film pushes to the limits of the screen the distinction between language and image.
Alessandro De Francesco, Augmented writing, 2013.
Augmented Writing is a language art project and a writing method.
Each Augmented Writing object contains multilingual digital text and hand-written material. The text comes from web news, virtual reality environments, social networks, but also poems, transcriptions of speeches and dialogues with people, etc.
Augmented Writing builds up emotionally dense, multi-layered narratives through a verbal material that is processed under a radically iconoclastic political and cognitive perspective.
The augmented writing is a sort of new literary genre, halfway between poetry, conceptual art and storytelling. Through its complex verbal structures, Augmented Writing changes the paradigm of narration and asks the reader-observer to develop specific reading techniques.
GENDER EQUALITY, between the tradition and the way to freedom
Eric Robert Wolf, in his book “Envisioning Power: Ideologies of Dominance and Crisis” (1999), proposes a redefinition of power that emphasizes diversity, ambiguity, contradiction and imperfectly shared meaning and knowledge.
Amanda KM, Filtered Conversations at Round Table, installation, 2015
The work merges the female body, sexuality, and smoking to explore the taboos associated with the three in Cairo, Egypt. Filtered Conversations at Round Table is a project that not only steps over the boundaries of the taboo, but creates an atypical space where intimacies are shared rather than concealed. The artist has conversations with women living in Cairo about their experiences. As the conversations take place, she invites the women to share with her snacks, beverages, cigarettes. Collecting the tracks and using them as vestigial recordings of the conversations, Amanda juxtaposes them with soundless videos conversations, inviting the viewer to experience fragments of complex female life. Here some topics: working in a predominantly male field, mobility, class divides sexual harassment, action vs. complaining, male perception, appropriateness, gender roles, external judgment, internal conflict, not removing hair, support system, imaginary friends, fitting into boxes, first love, loaning money, supporting someone you love,emotional abuse, attachment, sex…
Mariagrazia Pontorno, Cairo’s skies, three channel video installation, 2015
Mariagrazia’s research centers on 3D animation to recreate images evoking the facts of everyday life and the passing of time. 3D is a language that allows her to conjure visual paradoxes: the familiar suddenly looks distant, foreign, and uncanny. With the use of complex and sophisticated video animation software, Mariagrazia realistically reproduces scenes where the boundary between reality and fiction appears blurred and immaterial: they are artificial duplicates whose distance from their analogic model generates short-circuits of the vision.
Cairo’s skies is a documentary that aims to be a reading for images of the post Arabic Revolution situation.
The point of view of artists and intellectuals are told by Mariagrazia Pontorno, who devotes particular attention to photography of the respondents and landscapes, to the choice of images and the use of 3d animation footage.
The music will be composed by Aeham Ahmad, Yarmouk’s pianist, a symbol of the art resistance compared to the bleak setting of real and metaphorical rubble of the Egyptian society
THE LEGAL SYSTEM
Void collective, NOISISFULLOFWORDS, video-performance, 2013, 10’
NOISISFULLOFWORDS documents a performance in which a voice recognition software writes down what it understands from the noise made by an electric guitar. The text obtained is reused as vocal score by the performer and is translated in turn into musical sheet, closing the loop.
How does the law attack and defend us at the same time? Which is the difference between surveillance and defence?
How much the law is able to translate the needs coming from the society? Several times these needs remain noise due to the difficulty of social interpretation. The system stops itself in a never ending repetition.
System, video performance, 2014, 4:49′
Every system requires a set of established basis that supports it and prevents its collapse. Definitely the socioeconomic system that shelters humans is not exempt from these rules.
For proper operation it requires to program terminals/individuals with the basic notions of operation. Social rules and religion are just some, since any stimulus received from the outside is assimilated as their own.
This work is intended as a digital allegory (in pure 21th century’s style) of how The System inserts in us the basic guideline for its own perpetuation. The same individuals defend the System’s basis.
In Cairo we see a traffic life and a chaotic system, made by contractions and expansions, that are also expressions of human chaos and freedom. The weel-known Nietzche’s mots : “One must still have chaos in oneself to be able to give birth to a dancing star” has to be read again. Nietzsche identifies chaos as “the creative potential within culture…the will to power…the fundamental essence of the world.” The challenge is to make the chaos a means of creativity and human force, the ability to transform the world in a piece of art.
Calixto Ramirez Correa, El destiempo, video, 2013, 2’01”
Ramirez confronts his own body with different scale and geo-social realities, he is a planetary walker or Flâneur of the urban environment. He creates a dialogue with new spaces in a meaningful and stimulating way. In this case the artist interacts with Alfredo Jaar’s installation at the Chile Pavilion – 55’ Venice Biennale. The Chilean artist presented a plastic of the city of Venice that submerges in and merges again from the Venetian waters. Ramirez works on the imagination of Jaar, creating an opposite force and movement. While the city rises up, the artist goes down and vice versa. The attempt to go in an opposite way from the system.
Zimmerfrei, Hometown – Mutonia, documentary, 2013, 69’
A documentary film about the Mutoids’ camp in Santarcangelo di Romagna, a medieval little village in the middle of Italy, near Rimini.
Mutonia is a strange village inside a village, a temporary town which has been transformed over time, relating to a bigger urban, territorial and social context. It was born out of the anarchic, iconoclastic and experimental spirit of the travellers and cyber punks who founded it; the town has been home to two generations of travellers and has become a place of origin, a “motherland” to come back to, or to stop and raise children.
THE NEW IDENTITY – a combination of Historical one (past present future, religion and myths) and the digital one
Khaled Hafez, Idiers’ Logic, mini-DV, 24 minutes, 2003 *
What does it mean to be Arab African and Middle Eastern in a post-September 11 world?
Three actors mingle and interact without dialogue in a closed space.
The 24 minutes experimental film explores, through acting and the reassemblage of stock footage extracted from film, advertising and theatre plays of the Egyptian sixties, seventies and eighties of the twentieth century, notions of identity and what it is to be Arab, African and Middle Eastern in a post-September 11 world. We are able to navigate in a process of “socio-political revisionism” of the last four decades of regional history, tackling along the way the three Oriental Taboos: sex, politics and religion.
THE THIRD ECONOMY
The EMILIE LA REINE FOUNDATION, audio installation, 2015, 54’
No one knows who is Emilie La Reine. The concept on which it is based The Emilie La Reine Foundation is the anonymity. All contributions (artists and composers) are of the order of anonymity.
In this way, free from any previous sentence, only the quality emerges. It’s a critical position on any kind of economy based on factors different from excellent value.
All videos will be mounted on a single track. The music and video will not be tied, there will be a continuous coincidence / randomness between listening to music and the moving image.
The exhibition has the great pleasure to be an Embassy offline of “The Wrong – New Digital Art Biennale – (in)Exactitude in Science Pavilion, curated by Filippo Lorenzin and Kamilia Kard”. For this section there will be presented works by Emilie Brout and Maxime Marion, Marco Cadioli, Alka Cappellazzo, Marco Mendeni, Jacques Perconte, Guido Segni, Antoine Schmitt and Fabien Zocco.
Emilie Brout & Maxime Marion
Ghosts of your souvenir is an ongoing collection of found amateur pictures where the main subject becomes secondary when the viewer understands the organizing principle of the collection: the presence, in the background, of Emilie or Maxime (or both), posing for a photographer who’s not interested in them.
Proto (Macpaint Texture) is a video about the concept of “proto”, from Ancient Greek (πρωτο), combination form of πρῶτος (prôtos, “first”), superlative of πρό (pró, “before”) is used to form the name of the hypothetical ancestor of something.
Textures from the original 1984 MacPaint collapse in a dense and evolving mass witch is waiting to explode in a new model. We are no more post “something” – post industrial, post modern, post internet- we are Proto something.
IUS BI is a generative pattern designed by Cappellazzo. The code written by the artist becomes the semantic basis that generates, each time different from the previous one, a map.
A quiet desert failure is in its own way, a monumental piece about internet contents, emptiness, time, storage, memory, oblivion and – ultimately – failure.
Guido Segni programmed an Internet boat to traverse the datascape of Google Maps in order to fill a Tumblr blog and its datacenters with a remapping representation of the whole Sahara Desert, one post a time, every 30 minutes. The whole performance will approximately take 50 years to be completed, but it is still not clear if the audience, the Google’s servers, the tumblr archive or the Internet itself will last enough to see the end.
So, be patient, don’t hurry. The desert is coming.
r_lightTweakSunlight project stems from the research within the videogames brought forward by Marco Mendeni in recent years, giving rise to an environmental path entirely realized with Cryengine3 engine, an advanced software to create videogames. The use of a platform for the creation of virtual worlds has allowed him to develop a parallel reality starting from nothing, populating it freely with textures and extravagant Physics laws, in a search which is about space and shape, thanks to computer use.
[6 E Q U J 5] is an alphanumerical sequence which is known under the name of “WOW! signal”. It is the transcription of a strong radio signal detected on August 15, 1977 at the Big Ear radio telescope of The Ohio State University. This signal was identified as the result of a non-human activity. It appears to have come from the Northwest of the globular cluster of M55, in the constellation Sagittarius, near the Chi Sagittarius star group. Fabien Zocco designed a not that is forwarding this signal to unknown e-mail addresses randomly get on the internet.
Any time that a picture of Isabelle is seen by someone connected to I love you images collections, because of the subject of Perconte, the picture is treated by a love writing program: the image source code is opened and modified. An application calculates a very precise variable number taking in consideration some internet server’s parameters and some user’s connection informations… this number is recalculated on every new request for a picture. Once this number determined the application searches in picture’s source code if this variable is present. If it’s found, it’s replaced by the sentence ‘I love you’: the architecture of the code is disturbed. The web browser needed for the viewing interprets the file and tries to display the picture. But transformations in the source code may modify it and can lead to the apparition of artefacts like; pixelation, distortion, addition of new colours, partial or total reinterpretation of the picture, disappearance of the subject in the picture or even absolute impossibility for the browser to display the picture: apparition of a broken icon… This absurd way of literally writing love in the picture, directly in the source code gives the viewer to see at every new connection a new collection of pictures more or less full of love… the more it’s written in the code; the fewer pictures can be seen.
The Grand Credits of all human beings: long credits slowly roll on the movie screen, from bottom to top. First name, last name. First name, last name. It is the list of the names of all human beings. Everyone is named, and all names are displayed with the same visual importance. This permanent technological artwork installed on internet uses all possible means to effectively list the names of all human beings. The main one being the contributions of exhibiting structures providing their members list, their visitors list, etc…