Portfolio

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Video screening and reading
video format: h.264, Col. and B/W, sound
Total lenght: 20′
[in progress]


Analog photographs

Analog photographs

Analog photographs, slides
Writing [in progress]

Digital photographs

Digital photographs

Digital photographs

Analog and digital photographs d. x 50 x 50 cm
and writing

Locations: Tunis, Redeyef, Moularès, Chenini, Ksar Ghilane
By: Mariagiovanna Nuzzi
with:
In Tunis
Chamkhi Fathi, Brahim Ben Taleb, Mohamed Akermi [Mimmo]
In Redeyef
Nidal Bensoltane , Aziza, Chraiti Boujemaaa Ghanem, Boujemaa, Ben Boubaker, Raddadi Mahmoud, Soulimi Mansour, Lune de Mine and the Director of the Cultural House of Redeyef
Laouni, as interpreter and translator
lenght: 67’43’’

A rotation consents the shift from a zenithal vision to a horizontal one.
From the capital of Tunis we move toward the village of Redeyef – in the Tunisian mining area of Gafsa – to the edges of the Sahara desert. This shift can occur backwards, as can our interpretation of history: grafting the 2008 strikes in Redeyef onto the anti- colonial struggles along the mountains bor- dering Algeria; likewise we can trigger a short-circuit, linking the period of the Tuni- sian provisional government (after the events of 2011) to that of the strikes in Redeyef.
It is not a game of counter positions, nor of contradictions and it definitely is not a search for a Hegelian montage: little impor- tance is addressed to an origin or an end. Rather, it can be viewed as a polarization, as when the speeches of the party representa- tives are juxtaposed with those of Redeyef’s striking workers.
In the city centre of Tunis, the analysis de- vised by of one of the founders of Raid Attack Tunisia, or that of the Tunisian Worker’s

Link for the trailer

Link for the film (subtitled in Italian)

Link for the film (subtitled in English)


Woven photography
fabric: wool
cloth’s dimension 1189 x 841 mm

“… it is cinema … with our own skin, sentient life that could exist in the open, no longer protected under the roof of an ego”. E. Coccia


Locations: Paris, London, Berlin, Tunis, Redeyef, Moularès, Chenini, Ksar Ghilane, Maastricht (for the shooting in the dark room)
By: Mariagiovanna Nuzzi Script: Mariagiovanna Nuzzi, excerpts from Ingeborg Bachmann, «Wüstenbuch» in Todesarten – Projekt Band I and Prolegomena by Ibn Khaldoun
Voice over: Rebecca Rossetti, Ivana Messina Editing of the script: Giulia Nomis
Translations: Ana Maria Bresciani Arenas
Shooting format: HD
Color and b/w
Lenght: 1 hour

It all started from a story she read, it was not written in the form of a story, but in the form of small fragments of trial’s deeds. Interrupted fragments of happiness. They were telling about nameless people that crossed a land made of dunes in Lebanon. A land whose name was al-rumul, The Sands, a land that did not belong to anyone, until the very moment of the trial. A land that was used being crossed, or for pasture, where someone used to sleep at night, where someone found even refuge, coming from the inner land or coming from the sea: because this land was on the fringe of soil and water. There were no edifices on The Sands, tough they couldn’t be properly defined as a deserted space, even if they had something in common with it. She searched for other images and she found a photograph.

A few bushes, mostly fleeing toward the hori- zon, cutting it with the sky. The air bricks are arranged in small groups, almost creating totems, caught out steps (in fallo). The soil washed out by the rubble: or maybe the photo- graph evaporates in the sun.

And few weeks after she met a man who told her: “You are looking at the desert with a western gaze, you cannot help it”. So she ended up asking herself what this meant and how the images coming from The Sands were telling a different story. This thought became bigger and bigger, growing parallel to the images she saw and she was looking for. That was the moment when she turned her gaze toward the places she was coming from. Toward what she thought the man was referring to when he spoke about a western gaze. So she started to look for the desert in Paris, she looked for it in London and in Berlin. She looked for it in the writing and she looked for it in photographing, in developing and in moving the words, the images, the elements on the plane that was taking shape every time each fragment was finding some rest in this dust storm.
But the send kept on speaking and in a differ- ent language, or maybe a dialect diverting the norm of the western landscapes. And bit by bit, slowly the desert and The Sands found themselves almost one in front of the other, not bodies, but two shadows made of a differ- ent matter, or even moving or reflecting the matter in two different ways. As projection would try to stand in front of a dream, or as a divination in front of a mirrored image.
How is it possible to make a film about it? Or should it be at all a film?
This was a question she kept and keeps asking. Even now that she is going to the Great East- ern Sand Sea, south of the Redeyef Phosphate mine, with a video camera. Behind a black book, where the repérages of the deserts she met in London, Berlin and Paris remains still in a murmuring disorder; on the horizon the following of an unnamed desire, as a canto in The Sands.

Link for the trailer

Link for the film (Italian subtitled)
For the English subtitled version send a mail


Film score [n. 82 (δ), photographic prints on barite paper, graphite on wall] Plates- miniature [n. 225 (δ), digital prints on common paper]

Al-Rumul: forms-of-life and dwelling takes the form of a series of photographs, accompanied by several passages of text that are written directly on the wall. This form – visually fluid, and meant to distinguish itself, albeit subtly, from the concept of a work-in-progress – evokes the path of research undertaken. The piece is, in essence, an ante-film, the construction of a future film through words and images, a process with an aesthetic and narrative life that is independent of the final outcome. In this sense, the work explores the degree to which the formation of a narrative structure (like that of a film) can have sub- stance, or, conversely, a specific identity. The subject of this story is expressed by the artist herself in the small fragments written in pencil on the white wall: “Uniform, bitter, harsh urban landscape. / Paris London, Berlin all the way to the desert. / Uninhabitable lands built to be inhabited … ”. The focus is on the ways in which one can occupy a place, on forms of life and survival in the desert, which can be seen, even literally. Text written by the curators of the XXIV National Prize for Visual Art in Gallarate

Al-rumûl : forms-of-life and dwelling is a research project started in 2012 and composed of multiple steps, each of them autonomous in its own structure, repetitive in its being different from the others and generative in its possible being prolific also in their reciprocal relations. The entire research explores the possibilities of the filmic writing, i.e. the movements inherent the drawing of filmic notes up to the moments in which the draft coincide with the film itself (as in the case of the films by notes). The arch that in the production process is cut off in separate phases can be in this way stretched and drifted.
In this field, the desert is the questioned (image) concept embodying the problems at stake in the filmmaking.

Repérages coincided with the moment of intersection of written fragments and the photographic prints realized in the European cities, emblem of the western processes of desertification. Paris in this panorama was the first stop, followed by the cities of London and Berlin.


Graphite on wall, approx. 90 x 50 cm

Occupy
drawing lessons, not yet a dance

With site, preoccupied

against scope, image revolts.
In the desert, its presence overexposes
its saturated resistance
towards any form that attempts to limit its spread, even,
in the temporal oscillation
before the realm of dimension.
So step by step
We end up following
in this phase
only bursts of flights


Presentation in the form of a seminar with  screenings of film excerpts.

The draft starting the script of the film On the ripening of times is presented in the form of a talk, accompanied by filmic fragments. Next to the presentation stay two indexes: a pamphlet founded during the solidarity demonstration in Bologna, response to the killing of Alexis Grigoropoulos and the Greece riots; the paper draft of the film to come.
The filmic search aims to look at a political moment in Italian his- tory marked mainly by obscurity, that is to say, the period from 1977 to the first half of the 80s. Those who did not endure this period can only under- stand it through the vestiges that have continued to operate both in law and language. On the other hand, the memories of those who actually witnessed these years, as well as other recordings, writ- ings and traces of this era are fundamental in order to question the authoritative turn of force shaping these events and how this force is still active in the language.

2011, My little acufene, in collaboration with Marije Baalman, audio piece, 30′

Marije Baalman and Mariagiovanna Nuzzi collaborated on the realization of the sound piece My little acufene. The term acufene comes from the Greek one akóuein, to listen, and corresponds to the English one of Tinnitus, a sound experience, mostly in the form of whistling, originating from hearing disorders. The sound was designed by the artist Marije Baalman on the base of interviews with someone experiencing Tinnitus, describing the sound and comparing it to synthesized sound she had created. The sound experience is perceivable by the public but partly unheard by the person interviewed, since the Tinnitus is an hearing perception produced in order to compensate the frequencies he or she is missing: the diffusion of the sound therefore cancels the hearing perception.

The piece was performed for the first time in the program of JVER, the local radio at the Jan van Eyck Academie set during the 2011 Kunsttour, realized by Vasilis Marmatakis in collaboration with Mariagiovanna Nuzzi.


Photographic Sequence sunk in a wall
21 photographs 12.3 x 8.12 cm; 1 photograph 12.6 x 8.6 cm
Charcoal handwritten voiceover on the wall
Wall Surface 7 x 2 m
Wall Sunk 3 mm
Micro-details of the photographs part of the Ugo Ferrandi’ Collection (donated to the Public Library of Novara) re- photographed by Alessandro Sambini
Text by Mariagiovanna Nuzzi

A close invitation led to the finding of a particular collection of images afferent the U.F. Official Collection (officer of the marine and explorer in East Africa for the Kingdom of Italy). The images depict a hint of path across East Africa and in a more detailed way part of the nowadays Somalia and Ethio- pian territories. The photographs, as well as other images at which they indicate, remained until today hidden in a strongbox in the head office of a provincial city in the North of Italy.
What memory, then one asks, and toward who or else where?
And this remembrance to which the invited person is pushed for a generation is a symptom of what?
Are there images here? This is the first ques- tion that the corridors of the small library inspired: evoked, yet ad litteram, nevertheless it received a response.
Images, hidden in the odd archival form of a strongbox, instead of honouring a revenue, reproduce what was going to prefigure itself in the shape of a recursive algorithm. In the strongbox a variable number of albums gather photographs and postcards, to which a unique ordering code was attributed, that is the proper noun of the one composing them.

Link for the text written in the occasion of the exhibition


Notes for a screenplay in the shape of 3 boards
Prints on paper
Dimensions: 70*100 cm each

The research constitutes the ground for the screenplay of a coming film. It starts following a specific photographic inquiry, which, developed along the second half of the XIX century – with higher peaks at the beginning of the XX century- was moved by the possibility of capturing on the photographic plate entities, bodies made of a different materiality from the ones immediately perceivable or graspable by the gaze. Those other bodies, called also, in a quasi symptomatic way, materializations, open to a series of questions, shadowing the scientific research on the objectivity, as well as stressing different ways in which a commu- nity creates a particular kind of imaginary, external to each singular discipline – but that at the same time comprehending them all- becoming its own representation.


III SCENE
Witness I, voice Matthew Everatt, audio piece, 23’40’’
IV SCENE
Witness II
Locations: Dubai, Sharjah, Al Ain (United Arab Emirates)
By: Mariagiovanna Nuzzi
Voice over: Giuliana Racco
Script by: Mariagiovanna Nuzzi, excerpts from the testimony of G.
Subtitles and translation: Mariagiovanna Nuzzi, Giuliana Racco
Shooting format: MiniDV, slides and photographs transferred to digital
Aspect ratio: 1:1.33
Color and b/w
Lenght: 39’05’’

Y’s white hairs were marking an age, whose face’s traits and posture could have not offered any confirmation. He had left Egypt since five years. If he had reached Europe it was for awaiting in Madrid, so in Paris for finding than a road through Qesham for Dubai.
You think this is sand, but this is desert, on the right the street, on the left the mall. If that was the desert, the expanse of the space where the trajectories could still have been maintained as passages was assuming a different consistency.

Link for the trailer

Link for the film


II SCENE
The archive, a text and two photo prints 594x420mm
Link for the Book preview

What is necessary for the production of a poten- tial judgment which in a very dispersed manner limits itself necessarily to banishment, if the documents that it disposes no longer contain deeds? What is constructed through information collected and produced before reaching a regis- tration a fault? The gathering of these docu- ments comes very close to a form of biography, where the lives that are written do not however, in their making, include the recording of any voice.
The temporality of the making of these catalogues has a very specific connotation. The material gathered is primarily comprised of insignificant details of a life and is an equal selection from the dimension of a possible enun- ciation as from that of a possible gestuality. The collection is not finalized in memory, if not in its ability to reach a definition of who-you-are: a process of constitution which is finally resolved in the recording of a name and of a face. This implies that what once took form through the construction of an archive is here reduced to the continuous writing of lives as empty silhouettes.

The archeology of daily knowledge makes itself possible the moment the discourses have ceased being ours and, precisely from this moment, acquire their possibility, coming to light as poems of life. The state of no longer belonging to us is not measured in the chronological extension of a linear historic development, but in the occurrence of a gap or discontinuity between what we can say and what we no longer can say since it has already been uttered.


I ACT
I SCENE
Seminar, Video, b/w, 9’15’’
II SCENE and III SCENE
Uno studioso e un apolide. Esperimento fallito cercando forme-di-vita
Link for the Book preview
IV SCENE
The Law or to Desert, Audio piece, 7‘58’’
II ACT: Witness
I SCENE
Audio Cartography or Voiceless, Audio piece, 16’30’’

Dear,
I was mentioning you in a former letter of the intention to use other means, beside mails and telephone, to confront the situation of G., that in a different way does not remain just his own. I was mentioning also about the scepticism toward the context in which I am. I’ve undertaken a path that in this moment I perceive ambiguous, ambiguity of which I don’t feel in any way a master, but that scares me a lot. I believe you can imagine and that you know, for an experience that touches you, how much each choice is decisive, and much more when someone realizes that it is never just a singular one.

“To write this story” this was the last note, after two hours spent at the London City Airport, sketching thoughts and comments about this place, imagining G. in Dubai. The need to write took the consistency of a desire in thinking that the writing in itself would have constituted a possibility

The story and the research gravitate on the life of G. and Y. and the question of storytelling in relation or better inherent with a life and his world.
The research is structured as a play in two acts, four scenes each. A book gathers the play; the last two scenes slip the binding.


Video Locations: Turin (Italy)
By: Mariagiovanna Nuzzi Shooting format: MiniDV
Aspect ratio: 1:1.33
Color
Lenght: 14’44’’

KIKINNOS curl, so that it would be to wring a part of the face in order to sign. The Baist. from greek EPI-SKYNION eyebrow, the skin upon the lush (that in mood’s change exposed in the face use to move).

When things are forced into commandments, orders – instead of considering them as simple compositions of relations -, God is conceived as a father and one invokes his signs.


Filmic elements for a studio inspired by Cesare Lombroso’s life.
Tripartite plate, 105 x 29,7 cm.

Docu-fiction
Locations: Turin, Chieri, Padua, Lignano
By: Mariagiovanna Nuzzi and Antonio Cataldo
Shooting format: MiniDV
Aspect ratio: 1:1.33
Color
Lenght: 50’

The figure of Cesare Lombroso paradoxically oscillates between memory and oblivion. The avowed decadence of his theories and studies took sanctuary in a memory that lies outside all scientific domains, in a nebula of mythologies. At the beginning of the last century, Lombroso and his research turned out to be the founders of a new science, criminal anthropology. The city of Turin, which back then proudly associated itself with his name and scientific work, surrendered the memory of Lombroso in exchange for a horror fabulation.

A double movement binds Cesare Lombroso’s figure to our contemporary world, as characters progressively vanish in the definition of a case study, which, instead of retaining its strength as example, disperses in the most general of generalities. The writing of a life thus loses its chipper in a code that keeps following its impossible, presumed and unique specificity.

Link for the trailer


Documentation of a shift Locations: Beirut (Lebanon)
By: Mariagiovanna Nuzzi and M.A. Shooting format: MiniDV, super8
Aspect ratio: 1:1.33
Color and b/w
Lenght: 59’

The whole research is composed by two documen- taries and a collection of illustrations (montage of texts, photographies and drawings): gaze, bond of friendship, nears three men, in their distances, under the light of the politi- cal conformation and modification of the spaces they live or they simply cross.

Philos e Xenia part 2
– More than luck is a question of strategy: I havn’t already learnd how to move in this city. Sun is coming up, just two hours left before passing the overexposition limit.
I follow the path, walking, trying to imagine how G. would have moved along these roads. –

Following the municipality line of the city of Beirut, interruptions, holes and openings draw a place where an hidden possible friendship exhausts itself.

Link for the trailer

Link for the film


Collection of illustrations gathered in a book 14 plates
Dimensions: 21*18 cm each Montage of texts, fragments of letters, photographs, drawings
Excerpts by Bertolt Brecht, George Simmel, Martin Heidegger, Jean-Luc Godard, Mahmud Darwish

The whole research is composed by two documentaries and a collection of illustrations (montage of texts, photographies and drawings): gaze, bond of friendship, nears three men, in their distances, under the light of the politi- cal conformation and modification of the spaces they live or they simply cross.

Suggestion for a possible storyboard

In leaving the thinking about interruptions and connections held in images taking stiff- ness on the matter of a book, the process con- tinued, building up the main poles, possible or not-possible cohordinates of the shift to come.


Docu-fiction in DVD format transferred to a book
Locations: Turin, Liguria, Paris, Rome, Beirut, Chouf Mountain (Lebanon)
By: Mariagiovanna Nuzzi
Archival Images: “L’enigma del Medioriente”, Italy, 1969, b/n, 35mm, dur. 3’ 15‘’
Voice over: Elisabetta Paduano, Cinzia Picchioni, Fulvio Montano , Luca D’Introno
Script by: Mariagiovanna Nuzzi Texts for the script by: Baruch Spinoza, Mahmud Darwish Subtitles and translation: Mariagiovanna Nuzzi
Shooting format: MiniDV, super8, digitalized 35mm
Aspect ratio: 1:1.33
Color and b/w
Lenght: 16’29”

The whole research is composed by two documentaries and a collection of illustrations (montage of texts, photographies and drawings): gaze, bond of friendship, nears three men, in their distances, under the light of the politi- cal conformation and modification of the spaces they live or they simply cross.

Philos e Xenia part 1
The dialogue between M. and G. draws the history of an interrupted journey. Images and words pass through different spaces, punctu- ated with quotes of another place calling, composed by a shifted time-matter. How is it possible their becoming places?


Docu-fiction in DVD format Locations: Arcachon, Martignac, Parigi, S. Stefano Belbo, Tarnac, Torino, Venezia
By: Antonio Cataldo, Mariagiovanna Nuzzi
Cast: Andrea Morbio
Voice over: Francesca Bucciero, Andrea Morbio, Christiane
Script by: Antonio Cataldo, Mariagiovanna Nuzzi
Texts for the script by: Giorgio Agamben, Zygmunt Bauman, Walter Benjamin, Marcel Carné, Martin Heiddeger, Franz Kafka, Guy Debord, Gilles Deleuze, Primo Levi, Cesare Pavese, Gershom Scholem
Subtitles and translation: Mariagiovanna Nuzzi
Shooting format: MiniDV
Aspect ratio: 1:1.33
Color
Lenght: 26’27”

Owing to the finding of fragments belonging to different lives, features of a form-of-life appear. It moves through the vibration of the past, rediscovering its own gestures. In their gathering, the loose fragments shape a land- scape, an atmosphere on the boundaries between a lived everyday and a becoming historical. The threshold between the living (the one who lives) and the lived (the one who dies) grows thinner until it becomes indecidible. It seems that a common destiny brings these lives together and that something distinguish them from the gloomy landscape in which they wander. Each one of them tried to go out from himself, shifting along the line of life, impressing it deeply, but at the same time opening the possi- bility for the recalling of the same gesture. In the meeting of past with present, life vibrates, it takes shape in the images.

link for the trailer


Double projection in DVD format and environmental sound Location: Lido di Venezia
By: Antonio Cataldo, Mariagiovanna Nuzzi, Paolo Pennuti
Color
Lenght: loop First video (The old man) 10’36” Second video (Water) 8’25”
Sound: CD audio environmental sound outside the space of the projection 13’05” track, in loop
Two opposite videos in a thin space, an envi- ronmental sound. Apparently there’s no time- space correspondence between the three ele- ments, which come one toward the other, in their development they never meet themselves, loosing the relation between observer/observed, actor/spectator, inside/outside. The spectator enters the mechanism as well as the image. It seems he is the only one that can take a choice.

The hunger artist was buried with straw and all. Into the cage they put a young panther. Even the most insensitive felt it refreshing to see this wild creature leaping around the cage that had so long been dreary. The panther was all right. The food he liked was brought him without hesitation by the attendants; he seemed not even to miss his freedom; his noble body, furnished almost to the bursting point with all that it needed, seemed to carry freedom around with it too; somewhere in his jaws it seemed to lurk; and the joy of life streamed with such ardent passion from his throat that for the onlookers it was not easy to stand the shock of it. But they braced themselves, crowded around the cage, and did not want ever to move away. F. Kafka, Ein Landartz
Angel with no soul, creature lacking its creator, media without a message, we are walking on the abyss. Our travel, which could end yesterday or some years ago, have no reason in itself and ignores every need, out of the one of contingency.


Video in DVD format By: Mariagiovanna Nuzzi, Paolo Pennuti B/N Lenght: 6’17”
composition of extracts from the films: The cameraman, Buster Keaton, 1928; Man with the movie camera, Dziga Vertov [original title elovek s kinoapparatom] 1929; The society of spectacle, Guy Debord [La societé du spectacle] 1973; Réfutation de tous les jugements, tant élogieux qu’hostiles, qui ont été jusqu’ici portés sur le film “La societé du spectacle”, Guy Debord, 1975; In girum imus nocte et consumimur igni, Guy Debord, 1978; The passing, Bill Viola, 1991.

“The 21st 1969, the earth witnessed fascinated, live broadcast, to the first steps of men on the moon. Almost mythological images, which are often showed as the symbolic essence of televi- sion, but then, if we look them today once again, they seem constantly being cinema. Even if realized in perfect absence of gravity, one can watch Armstrong (the man in upright posi- tion, vertical, in front of a new world which spreads out horizontally before him), with the camera on the shoulder, sketching first some descriptive panning shot, than hesitating, turning, searching the right shot angle, finally trying hard to make the image stable (the non-horizontal horizon), using the tripod, correcting the frame, composing literally his steady frame, considering the light direction and the elements to show in the field, all following the instructions of the technicians “ashore” in Huston. Typical job, then, of the operator and the director of photography (even if not on a straight distance) whose aim seems just to be setting the image steadly, to give it a perceptive consistence steady and stable, founded on ours coordinates of space point references. The moon space which, then, we’re allowed to see is shot exactly “as in cinema”. “Earth” vision of a universe, which is not”. The present can now be lived directly as memory. Time is subjugated to the illusory order of the present, permanently available. Through the making space of time, both, time and life they got lost together.


Location: Paris, Ferruzzano
By: Antonio Cataldo, Mariagiovanna Nuzzi, Paolo Pennuti
Triple projection in DVD format
Color
Lenght:loop reproduction – First fragment 1’47” – Second fragment 1’39” – Thrid fragment 2’40” Sound: CD audio environmental sound inside the spaces of the projection 4’ Track every 20’ of silence

Notes: the research was meanted to be shown in a Gallery space in the occasion of a student group exhibition, the fragments entered the sequence of the others artists video as a virus. The track shaped the sound atmosphere of the space. The text Le bel enfer was left at the entrance of the Gallery.

Excerpt from the text «Le Bel Enfer»

If aesthetics wasn’t but the science of beauty, or the one of taste, or also a certain ’regime of intelligibility of the arts’ – this point where, toward the end of the eighteenth cen- tury, we’ve ceased to talk about fine-arts, liberal arts and the mechanical arts, in order to talk about “the art”, special sector of the existence, scrupulously distinct from ordinary life, – there wouldn’t be an aesthetic salon on the street corner, nor any punk attitude, nor even a free zone in the art galleries. Surely we would not dream of transforming the last peasant in a landscape entertainment’s agent. There is less aesthetic in all Warburg’s art history than in one hour of a publicist’s life. In all its networks, aesthetics is the urban existence and, in deep, the new imperial new society . Aesthetics is the form taken by the apparent melting, in the metropolis, of capital and life. As well as valorization, everything finds its ultima ratio in the fact that a thing or a being is liked, in the same way the power, that cannot justify anymore its conduct with any reference to truth or justice, covers the utmost freedom of action when it advances under the aesthetics mask. Few years ago a Nietzs- chean wrote: the aesthic paradigm is the angle of attack allowing to report a constellation of actions, feelings, specific atmospheres of the post-modern spirit .Following the praise of bar-branché sociality, of all the cyber conviviality, of all this rentable superficiality, of frozen love making the specific attraction of the metropolitan hearts. Therefore aesthetic is the imperial neutralization, where “one” does not directly appeal to the police.


Video-performance in DVD format Location: Lido di Venezia by Mariagiovanna Nuzzi Color Length: 4’56” Sound: Nova, from the album “Permutation”, Amon Tobin

The video was inspired by the performance from Allan Kaprow “Pose, carrying through the city” (1970).
In the context of a project assumed to be a relational operation, where the Television finds again his illusory ability, this time paradoxically in a more elitist way Qualsiasi(TV) in Florence, a project for a TVstreet by Rirkrit Tiravanija a student tries to experiment her little failure.


Video in DVD format By: Marco Baravalle, Mariagiovanna Nuzzi, Paolo Pennuti
color
Lenght: 17’20’’

“The act of creation for an artist, located in the market, turns into an economical activity. In which ways does the artistic production differentiates from any other economical activity? How does the contemporary art field changes in relation with the enlargment of cultural offers?” A reportage, collection of interviews, exploring the system of art in Italy and the consequences of the tight relationships of economy and art.


Double projection of a video-performance MiniDV format Location: ex Carabinieri Station, Venice by Mariagiovanna Nuzzi Color Length: 50’
preview in DVDformat
lenght: 16′

The research began in 2002 with a first experience in the former Hospital “Ospedale al mare” in Lido di Venezia and ended in 2003 in the building of an ex Carabinieri Station in Venice. The chosen abandoned spaces, in both cases, are places of the limit: apparently lacking life, but where one can strongly perceive the lived. In the ex station, despite the abandonment, traces of lives from the past persists, figures that crossed those spaces not so long time ago. The schizophrenic movement of the double gaze (binocular vision) amplifies with the intuition that, a seeming deep- ing of the vision, still keeps the potentiality of the non-explorable.

“I look out for a moment to catch sight of the otherside, I try…to gather with the gaze, with my flesh
an instant and I realize that the gaze itself stays even before I can perceive something, it stays at the very level of perception, a movement that from the inside shifts toward the outside. The boundaries which divides the dif- ferent entities shift themselves, the limbs move, change themselves, the subtle line does not dissolve itself
I push myself to search elsewhere to catch something that is always closer, but whose distance stays always un- dechiperable, un-graspable
Desire for the invisible opens the eyes so that they let themselves dazzle”