[TITLE]
[ARTIST]
[EXT. CUR.]

16.10.21
/05.11.21

Pon the replay ⟵

 EN 

Pon the reply is a video/audio compilation. The artists involved are: authors who have already started a dialogue with ISIT on previous occasions, and new collaborations. One of the curator's intentions is to expand the thematic network that the team is pursuing in various ways: webseries, online and print magazines, exhibitions, etc. The selected video works reflect without superstructures on contemporary contradictions and conditions, such as: digital/virtual awareness, identity, attitudes and trends that from mediated or overwritten experiences, fictionality and staging. The succession of the videos has no predefined sequence, each piece, from time to time, is followed randomly by the next, creating narratives similar to the online experience of viewing the content.

 IT 

Pon the replay è una compilation audiovideo. Gli artisti coinvolti collaborano per la prima volta con ISIT oppure sono autori con i quali è già stato avviato un dialogo in occasioni precedenti. Uno degli intenti curatoriali è quello di ampliare il network tematico che il team porta avanti in varie modalità: webserie, magazine online e cartaceo, mostre etc. Le opere video selezionate riflettono senza sovrastrutture su contraddizioni e condizioni contemporanee come: consapevolezza digitale/virtuale, identità, attitudini e tendenze che provengono da esperienze mediate o sovrascritte, finzionalità e messa in scena. La scaletta dei video non ha una successione predefinita, ogni contenuto di volta in volta viene seguito in maniera randomica creando narrazioni analoghe all’esperienza online di fruizione dei contenuti.

The Discreet Artist

Artist's website ⟵

 EN 

The Discreet Artist, The tree ; The leaf blower ; The duck2020, 1’27’’ + 50’’ + 1’6’’

The Discreet Artist is a series of videos that have emerged from the performance series ‘The Escaping artist’ and is in progress since 2015. This series is about exiting strategies taken to the maximum with the help of camouflage, props and costumes. The desirable outcome is exiting a room/situation/place in a non-expecting way. It is a body of work that plays with antithetical notions and ideas of confrontation and that paradoxically coexist peacefully at the same time. For this reason, I orchestrate and plan different ways of passing unnoticed and at the same time making sure that my actions make me the centre of attention. It can be regarded as a conceptual hide and seek game where I am concealed and the viewer is the one that spots me. Up to this point I have created and used various methods to make myself disappear. From chroma key suits to a duck on the head to costumes covered with leaves to hiding behind and carrying a huge rock. Plato in Republic talks about the story of Gyges and his ability to become invisible at will with the help of a magical ring (a ring that grants invisibility). In this story, he questions morality and suggests that people act decently only when they are seen and observed. The act of not being seen in this case could be seen as antisocial but simultaneously the nature of the perfor-mances seeks the viewers and the discourse. It could be described as the acts of an introverted exhibitionist or a shy attention seeker. My ring of Gyges is a cheap plastic one that only grants the illusion of invisibility, my superpower is to pretend not to be noticed. Or trying to be noticed while hiding. This project and ‘The Discreet artist’ are used as my alter ego. Now you see me, now you don't. This is a super secret alter ego of a visual artist.

 IT 

The Discreet Artist, The tree ; The leaf blower ; The duck, 2020, 1’27’’ + 50’’ + 1’6’’

The Discreet Artist is a series of videos that have emerged from the performance series ‘The Escaping artist’ and is in progress since 2015. This series is about exiting strategies taken to the maximum with the help of camouflage, props and costumes. The desirable outcome is exiting a room/situation/place in a non-expecting way. It is a body of work that plays with antithetical notions and ideas of confrontation and that paradoxically coexist peacefully at the same time. For this reason, I orchestrate and plan different ways of passing unnoticed and at the same time making sure that my actions make me the centre of attention. It can be regarded as a conceptual hide and seek game where I am concealed and the viewer is the one that spots me. Up to this point I have created and used various methods to make myself disappear. From chroma key suits to a duck on the head to costumes covered with leaves to hiding behind and carrying a huge rock. Plato in Republic talks about the story of Gyges and his ability to become invisible at will with the help of a magical ring (a ring that grants invisibility). In this story, he questions morality and suggests that people act decently only when they are seen and observed. The act of not being seen in this case could be seen as antisocial but simultaneously the nature of the perfor-mances seeks the viewers and the discourse. It could be described as the acts of an introverted exhibitionist or a shy attention seeker. My ring of Gyges is a cheap plastic one that only grants the illusion of invisibility, my superpower is to pretend not to be noticed. Or trying to be noticed while hiding. This project and ‘The Discreet artist’ are used as my alter ego. Now you see me, now you don't. This is a super secret alter ego of a visual artist.

-ness

Artist's website ⟵

 EN 

-ness, Transghost Hotline (#1 / #2 / #3 / #4 / #5 / #7), 2021, 33’’ for each videos

"It's the middle of the night and you need some love. Or maybe it's daytime, break from work? Hot-line Ghost-line. You know, it can only mean one thing. Transghost fulfils your desires, your hidden fantasies, in complete anonymity. Confidentiality guaranteed." Transghost in Hot-line Ghost-line shows itself through the line of desire. A transit line between explorations of identity and sexuality outside the norm. In these short-videos Transghost - using the language of the hot-line - engages the audience to a direct, intimate and anonymous conversation. Through private chats and the sharing of video and photo material the viewer can get in touch with the Transghost identity. -ness is an art collective founded in Venice in 2019 by Rooy Charlie and Giuia Zulian. -ness develops thoughts and practices starting from the conception of the Transghost identity and its systemisation in the disciplines of visual-performative arts and queer studies. In December 2020 Ness published in KABUL Magazine the “Transghost Manifesto”, a pivotal text that brings together the extensive research on Transghost identity, based on the critical studies of Butler, Foucalt and Preciado. In May 2021 the collective won the call for proposals of La Biennale Teatro - Performance Site Specific 2021, obtaining the production of the performance On a Solitary Beach. From 15 to 17 October Ness will present, on the occasion of ArtVerona, the new performance DSM (Desires, Sins, Mistakes). -ness has obtained the support of Biennale Teatro, Centrale Fies, Dominio Pubblico, ISIT.Magazine and KABUL Magazine.

 IT 

-ness, Transghost Hotline (#1 / #2 / #3 / #4 / #5 / #7), 2021, 33’’ for each videos

"It's the middle of the night and you need some love. Or maybe it's daytime, break from work? Hot-line Ghost-line. You know, it can only mean one thing. Transghost fulfils your desires, your hidden fantasies, in complete anonymity. Confidentiality guaranteed.” Transghost in Hot-line Ghost-line shows itself through the line of desire. A transit line between explorations of identity and sexuality outside the norm. In these short-videos Transghost - using the language of the hot-line - engages the audience to a direct, intimate and anonymous conversation. Through private chats and the sharing of video and photo material the viewer can get in touch with the Transghost identity. -ness is an art collective founded in Venice in 2019 by Rooy Charlie and Giuia Zulian. -ness develops thoughts and practices starting from the conception of the Transghost identity and its systemisation in the disciplines of visual-performative arts and queer studies. In December 2020 Ness published in KABUL Magazine the “Transghost Manifesto”, a pivotal text that brings together the extensive research on Transghost identity, based on the critical studies of Butler, Foucalt and Preciado. In May 2021 the collective won the call for proposals of La Biennale Teatro - Performance Site Specific 2021, obtaining the production of the performance On a Solitary Beach. From 15 to 17 October Ness will present, on the occasion of ArtVerona, the new performance DSM (Desires, Sins, Mistakes). -ness has obtained the support of Biennale Teatro, Centrale Fies, Dominio Pubblico, ISIT.Magazine and KABUL Magazine.

Francesca Cornacchini

Artist's website ⟵

 EN 

Francesca Cornacchini, Iconic_trash 3d-I ; Iconic_trash 3d-II ; Iconic_trash 3d-III, 2019, 1’ + 1’ + 1’

In an effort of virtual creation, intended as an embryonic form and first conception, of a new order of Icons or Divinities, the artist focuses on the materiality of the space-time grid understood as a social and anthropological constituent. The viewer is the divine creator beyond the divine, in the semi-virtual grid of the programme. The work slips inexorably into a temporal ambiguity, reinforced by the "trash-technique" used. The same technique is employed for the destruction/creation of the audio track, exasperated by effects. This is composed of a series of superimpositions of electronic tracks, heavily distorted, in order to create a new pressing tribal rhythm. Francesca Cornacchini was born in Rome on 22 March 1991. She graduated first in scenography and then in sculpture at RUFA- Rome University of Fine Arts. Since 2018 she has been a member of the group of artists at Spazio In Situ. The artist's work focuses on the study and analysis of techno-pessimism and its relationship with scientific, economic and political progress. He methodically studies biological, philosophical and anthropological themes, with crude underground aesthetics. The constant techno-scientific research becomes the focus for the mediums he uses, often of virtual derivation, creating a dialogue not only with the world and history of art, but a more intimate connection with the biological and sociological sphere of man. He is currently exploring the relationship between historical symbolism and its adaptation in a contemporary key.

 IT 

Francesca Cornacchini, Iconic_trash 3d-I ; Iconic_trash 3d-II ; Iconic_trash 3d-III, 2019, 1’ + 1’ + 1’

In an effort of virtual creation, intended as an embryonic form and first conception, of a new order of Icons or Divinities, the artist focuses on the materiality of the space-time grid understood as a social and anthropological constituent. The viewer is the divine creator beyond the divine, in the semi-virtual grid of the programme. The work slips inexorably into a temporal ambiguity, reinforced by the "trash-technique" used. The same technique is employed for the destruction/creation of the audio track, exasperated by effects. This is composed of a series of superimpositions of electronic tracks, heavily distorted, in order to create a new pressing tribal rhythm. Francesca Cornacchini was born in Rome on 22 March 1991. She graduated first in scenography and then in sculpture at RUFA- Rome University of Fine Arts. Since 2018 she has been a member of the group of artists at Spazio In Situ. The artist's work focuses on the study and analysis of techno-pessimism and its relationship with scientific, economic and political progress. He methodically studies biological, philosophical and anthropological themes, with crude underground aesthetics. The constant techno-scientific research becomes the focus for the mediums he uses, often of virtual derivation, creating a dialogue not only with the world and history of art, but a more intimate connection with the biological and sociological sphere of man. He is currently exploring the relationship between historical symbolism and its adaptation in a contemporary key.

Valerio Veneruso

Artist's website ⟵

 EN 

Valerio Veneruso, Mein Zeitgeist, 2020, 5’

Mein Zeitgeist is the title of a video series dedicated to specific events that reflect the spirit of our times. Using as a common thread the impact that certain sectors of the entertainment industry (from video games to Virtual Reality) have on our society, the video dialogues with the viewer, posing questions about issues that are as atavistic as they are deeply relevant. The intention is to try to understand the nebulousness of this new dark age - dominated by accelerationist impulses and totalising fears - by analysing its own conception of time in relation to capitalist culture. Valerio Veneruso is a visual explorer born in Naples in 1984. Both as an artist and as an independent curator, he is interested in the impact of the images in contemporary society and in everything related to audio-video experimentation. Together with Davide Spillari, he is also the founder of the editorial project BANANE FANZINE and the curator of the first two editions of the interactive arts festival Toolkit (Venice 2011-2012). he has collaborated with online magazines such as Jabul Magazine and NOT, he writes regularly for Artribune and Sky Arte. He currently lives and works between Turin and the web.

 IT 

Valerio Veneruso, Mein Zeitgeist, 2020, 5’

Mein Zeitgeist is the title of a video series dedicated to specific events that reflect the spirit of our times. Using as a common thread the impact that certain sectors of the entertainment industry (from video games to Virtual Reality) have on our society, the video dialogues with the viewer, posing questions about issues that are as atavistic as they are deeply relevant. The intention is to try to understand the nebulousness of this new dark age - dominated by accelerationist impulses and totalising fears - by analysing its own conception of time in relation to capitalist culture. Valerio Veneruso is a visual explorer born in Naples in 1984. Both as an artist and as an independent curator, he is interested in the impact of the images in contemporary society and in everything related to audio-video experimentation. Together with Davide Spillari, he is also the founder of the editorial project BANANE FANZINE and the curator of the first two editions of the interactive arts festival Toolkit (Venice 2011-2012). he has collaborated with online magazines such as Jabul Magazine and NOT, he writes regularly for Artribune and Sky Arte. He currently lives and works between Turin and the web.

Carola Bonfili

Artist's website ⟵

 EN 

Carola Bonfili, Destabilizing a Young Ground, 2019,2’

Destabilizing a Young Ground is a site-specific project commissioned by the Centre D’Art Contemporain Geneve in collaboration with the Fonds Cantonal d’Art Contemporain (FCAC) and Léman Express. The work is part of the public art’s program “Mire”, an exposition of video shows inside several Swiss railway stations.The idea behind the work is to describe different types of trajectories through diverse geological formations, carried out by a device inspired by a model designed by the American architect Lebbeus Wood. Interest turns towards the simulation, and then reproduction, of a digitally recreated ground that loses its main characteristic of a fixed support to follow a path that pushes it towards a new state. 

The Flute-Singing, 2021, 6’25’’

The Flute-Singing is a CGI-modeled video that recounts a slice of life of a mythological creature, prior to his role in a video game. Although its appearance recalls that of a fantastic being, alien, or a hybrid fruit of some experiment, its interiority reflects the spirit of an existentialist and melancholic character. The classical narrative construction of the Ovid's Metamorphoses is dismembered within an AI program designed for role-playing games. The different stories - as well as different inputs inserted as impromptu responses to the reaction of the program - are used to influence the software, which in turn builds other responses, based on predetermined algorithms that have the purpose of constructing plausible stories. The interest lies in the juxtaposition between a classical, epic narrative, structured to transcend – in and of itself, the result of an advanced cognitive, experiential and spiritual background - and the reworking through a new order of reading data. This material outlines the psychological profile of a being who feels nostalgia, but does not know what for. The intention is to use humans as a universal repertoire of behavior, and to apply it, boned and deconstructed, to a creature that questions its being in the world.

Carola Bonfili (1981, Rome) lives and works between Brescia and Rome. Taking inspiration from natural forms and cognitive mechanics, yet driven by an obsessive attention to details and hidden macro phenomena (such as mnemonic functions, mental/subconscious forms and impossible resolutions) all her work moves toward multi-layered narrations, crystallized each time by a strong idea of the self and its cultural relevance across the time. AI principles, CGI, VR a/v environments and automatic writing are the main tools of her recent research. A performative matrix is often found in the production processes at the basis of her sculptural works and environmental installations, which are immersive in nature and tend to forms of transmedial narration. She has received various prizes and awards, including the 2011 LUM Prize (finalist); the Rome Prize, the 2008-2009 American Academy Prize (winner); and the 2009 Strozzina Prize, Florence (finalist), while also participating in residences at the American Academy of Rome (2009) and MACRO, Rome (2012). Works of hers in public collections include those at the Ministry of Foreign Affairs Farnesina Collection and the MACRO Museum in Rome. Since 2004 she has been working with Nero Magazine, with which in 2011 she began publishing her Names of Numbers, a series of monographic books on drawing.

 

 

 

 

 IT 

Carola Bonfili, Destabilizing a Young Ground, 2019, 2’

Destabilizing a Young Ground è un video site-specific commissionato dal Centre D’Art Contemporain de Genève in collaborazione con Fonds Cantonal d’Art Contemporain (FCAC) e in associazione con Léman Express. Il lavoro rientra nel programma di arte pubblica “Mire”, una rassegna di video mostrati all’interno di stazioni ferroviarie svizzere. L’idea alla base del lavoro è descrivere diversi tipi di traiettorie attraverso formazioni geologiche diverse, compiuti da un apparecchio ispirato ad un modello dell’architetto americano Lebbeus Wood. L’interesse volge verso la simulazione, e successivamente la riproduzione, di un terreno creato digitalmente, che perde la sua caratteristica principale di sostegno stabile per seguire una deriva che lo spinge verso un nuovo stato.

The Flute-Singing, 2021, 6’25’’

The Flute-Singing è un video modellato in CGI che racconta uno spaccato della vita di una creatura mitologica, precedente al suo ruolo all’interno di un videogioco. Nonostante l’aspetto ricordi quello di un essere fantastico, alieno, o ibrido frutto di qualche esperimento, la sua interiorità riflette lo spirito di un personaggio esistenzialista e malinconico. All’interno del video la costruzione narrativa classica delle Metamorfosi di Ovidio viene smembrata da un IA ideata per realizzare giochi di ruolo. Le diverse storie – insieme ad altri input inseriti come risposta estemporanea alla reazione del programma - vengono utilizzate per influenzare il software, che a sua volta ne costruisce altre, basandosi su algoritmi prestabiliti che hanno il fine di realizzare racconti verosimili. L’interesse volge verso la contrapposizione tra una narrazione classica, epica, strutturata per trascendere, frutto di un avanzatissimo bagaglio conoscitivo, esperienziale e spirituale e la rielaborazione da parte di un nuovo ordine di lettura dei dati. Questo materiale serve a delineare il profilo psicologico di una creatura che prova nostalgia ma non sa di cosa, l’intenzione è di usare gli uomini come un repertorio universale di comportamenti, e di applicarlo, disossato e destrutturato, ad una creatura che si interroga sul suo essere al mondo.

Carola Bonfili (1981) vive e lavora tra Brescia e Roma. Ispirandosi alle forme naturali e alla meccanica cognitiva e spinta da un’attenzione per i dettagli e i macrofenomeni nascosti (funzioni mnemoniche, forme psichiche e subconsce, soluzioni impossibili) il suo lavoro si muove verso narrazioni multistrato, cristallizzate da un forte idea del sé e della sua rilevanza culturale nel tempo. I principi di Artificial Intelligence, gli ambienti di Computer Generated Imagery e Virtual Reality, la scrittura automatica sono gli strumenti principali della sua recente ricerca e si ritrovano spesso nei processi produttivi alla base delle sue opere scultoree e delle installazioni di natura immersiva che tendono a forme di racconto transmediale. Ha ottenuto diversi premi e riconoscimenti tra i quali: Premio LUM, 2011 (finalista); Rome Prize, American Academy, 2008-2009 (vincitore); Premio Strozzina, Firenze, 2009 (finalista) e ha partecipato a residenze presso l’American Academy di Roma (2009) e MACRO, Roma (2012). Tra le collezioni pubbliche si ricordano la Collezione Farnesina presso il Ministero degli Affari Esteri e MACRO. Dal 2004 collabora con la rivista Nero con cui nel 2011 inizia la pubblicazione di Names of Numbers; una serie di libri monografici sul disegno.

Daniele Sciacca

Artist's website ⟵

 EN 

Daniele Sciacca, Who was Rosario Conte “an unknown legend” , 2021, 15'

We are at the dawn of 11th September 2031, and a police drone is chasing, following a report of a breach of standard protocols, the ruined former trapper Rosario Conte, known as Rosario. The cameras capture the rapper who, under the influence of a mix of psychotropic substances, climbed into his 4x4 and launched himself into an acrobatic jump inside Elliot's Baja in Seattle, where he had been living for a couple of months selling pulled pork on a cart.  The video retraces the character's strange and mysterious life full of stolen events, identity appropriation and references to the world of other more famous characters.

Daniele Sciacca was born in 1994 in Chieti. In 2018, he graduated in sculpture from the RUFA (Rome University of Fine Arts) and became a member of Spazio In Situ. He makes his first solo exhibition at the Bilbao Arte art centre and in 2019 he participated in several exhibitions and projects including "Inside the jar" at the Temple University and "Equivoci dell'arte" in the space Una Vetrina in Rome. In the same year he realised the performance "Paid to do nothing" at the MACRO in Rome. In 2016, he collaborated with Simone Cametti on "Verità e metodo di una mente isolata" as part of the "Dolomiti Contemporanee" workshop. His artistic research deals with various themes and socio-cultural dynamics, focusing in particular on the concept of banality and the observation of customs and habits of the past that seem to be re-proposed in the contemporary world through new languages. His approach is ironic, cynical and deliberately naive.

 IT 

Daniele Sciacca, Who was Rosario Conte “an unknown legend” , 2021, 15’

Siamo all’alba dell’11 settembre 2031, un drone della polizia insegue, a seguito di una segnalazione di violazione dei protocolli standard, l’ex noto trapper in rovina Rosario conte, noto ai meno come Rosario. Le telecamere riescono ad immortalare il rapper che, in preda agli effetti di qualche mix di sostanze psicotrope, sale sul suo 4x4 e si lancia in un salto acrobatico all’interno della Baja di Elliot a Seattle dove stava vivendo da un paio di mesi vendendo pulled pork su di un carretto. Il video ripercorre la strana e misteriosa vita del personaggio intrisa di avvenimenti rubati, appropriazioni d’identità e citazioni al mondo di altre personaggi ben più noti.

Daniele Sciacca nasce nel 1994 a Chieti. Nel 2018 si laurea in scultura alla RUFA (Rome University of Fine Arts) e diventa membro di Spazio In Situ. Realizza la sua prima personale presso il centro artistico Bilbao Arte e nel 2019 partecipa a diverse mostre e progetti tra cui “All’interno del barattolo” alla Temple University e “Equivoci dell’arte” nello spazio “Una Vetrina” di Roma. Nello stesso anno realizza la performance “Paid to do nothing” al MACRO di Roma. Nel 2016 collabora con Simone Cametti alla realizzazione di “Verità e metodo di una mente isolata” nell’ambito del laboratorio “Dolomiti Contemporanee”. La sua ricerca artistica affronta diverse tematiche e dinamiche socioculturali, concentrandosi in particolare sul concetto di banalità e sull’osservazione di usi, costumi e abitudini del passato che sembrano riproporsi nella contemporaneità mediante nuovi linguaggi. Il suo approccio è ironico, cinico e volutamente ingenuo.

Claudia Holzinger + Raphael Unger

Artist's website ⟵

 EN 

Claudia Holzinger + Raphael Unger, Giant Cats on a Googie Cat Tree_Awwww Animals, 2021, 7’11’’

They have to stay in one place where everything happens: sleeping, eating, working, communicating with the outside, joy, despair. The cat tree is home, the home is our only territory. Reality seems rigid, time seems frozen. Past, present and future lose meaning and evaporate. What is the date today? What is natural? Is this the beginning of something new, or does it go on andon now, until at some point it suddenly stops altogether?

Claudia Holzinger works intuitively and between disciplines to create expansive installations, in which photography always tells the main narrative. Examining herself through the social mirror, she hopes to create something positive through a second reflection. Through radical introspection, she discusses body politics, personal and collective memory, desired identity, fan culture, moral hygiene, strategies of patriarchy or the dangers of positive prejudices in her works.  By using methods of documentary, fashion and advertising photography, the figures in her work appear in a form very close to contemporary perceptual patterns. Her work has been published in System Magazine, ISIT Magazine, GUT Magazine, Salamé Magazine, Coeval Magazine and Zeit Campus Magazine. 
With the artist Lilly Urbat she has been working together as the Duo HOLZINGERurbat since 2016. Raphael Unger is an artist and designer. He builds, considers, conceives, designs forms and content. In doing so, he uses a wide variety of representational practices and media forms. At the centre of his artistic work is a strong interest in appropriation, copying and forgery. Within these considerations, he slips into different performative roles and develops products that are intriguingly returned to original commodity circuits. Currently he is studying industrial design at the UDK Berlin.

 IT 

Claudia Holzinger + Raphael Unger, Giant Cats on a Googie Cat Tree_Awwww Animals, 2021, 7’11’’

Devono stare in un posto dove tutto accade: dormire, mangiare, lavorare, comunicare con l’esterno, gioia, disperazione. L’albero dei gatti è casa, la casa è il nostro unico territorio. La realtà sembra rigida, il tempo sembra congelato. Passato, presente e futuro perdono significato ed evaporano. Che giorno è oggi? Che cosa è naturale? È questo l’inizio di qualcosa di nuovo, o va avanti e avanti ancora, finché a un certo punto si ferma improvvisamente?

Claudia Holzinger lavora in modo intuitivo e interdisciplinare per creare installazioni espanse, in cui la fotografia compone la narrazione principale. Esaminandosi attraverso lo specchio sociale, spera di creare qualcosa di positivo attraverso una seconda riflessione. Attraverso un’introspezione radicale, discute la politica del corpo, la memoria personale e collettiva, l’identità desiderata, la cultura dei fan, l’igiene morale, le strategie del patriarcato o i pericoli dei pregiudizi positivi nelle sue opere. Utilizzando il metodo di fotografia documentaria, di moda e pubblicitaria, le figure nel suo lavoro appaiono in una forma molto vicina ai modelli percettivi contemporanei. Il suo lavoro è stato pubblicato su System Magazine, ISIT Magazine, GUT Magazine, Salamé Magazine, Coeval Magazine e Zeit Campus Magazine. Con l’artista Lilly Urbat collabora come Duo HOLZINGERurbat dal 2016. Raphael Unger è un artista e designer. Costruisce, pensa, concepisce, progetta forme e contenuti. In tal modo, utilizza un’ampia varietà di pratiche rappresentative e forme mediatiche. Al centro del suo lavoro artistico c’è un forte interesse per l’appropriazione, la copia e la contraffazione. All’interno di queste considerazioni, scivola in diversi ruoli performativi e sviluppa prodotti che sono intriganti restituiti ai circuiti merceologici originari. Attualmente studia design industriale all’UDK Berlin.

Luca Miranda

Artist's website ⟵

 EN 

Luca Miranda, Sex worker, 2021, 54’43’’

The work is both an autonomous part and an integral part of a larger project focused on investigating and documenting the routines of NPCs that began in 2020. Here, the term routine is not only understood in the sense of "technical programming", but also as a dimension that lies parallel to and beyond our approaching, conceptualising and relating to virtual prostheses and simulacral identities. I have used - and I still use - three triple-A open world video games as a field of testing and investigation: Grand Theft Auto V (2013), Fallout 4 (2015), Rage 2 (2019). In this type of games, NPCs are interesting for a twofold reason: they represent a virtually real sociality and externalise different types of interstitial fractures with their pre-purposed function. They function - and conceptualise - not simply as a mere virtual counterpart of a simulated population, thus making explicit a realanthropological potential. What do NPCs do in their lives (expressed in seconds, minutes, hours)? Where do they go? In what way and why are their behaviours triggered that are opposed or complementary to the system that governs them? Are they subject to secret reactions and actions, or do they refer solely to their daily lives? And how is this supposed daily routine configured? In a way, their daily routines and our relationship with their existence are often no different from the 'ordinary' relationship between human beings. Take, for instance, the great subways: interfaces, screens and extras of flesh, bone, blood and synapses spurt - more or less quickly, more or less swirling - past each other without questioning each other's wandering. Instead, from an exquisitely technical perspective, NPCs often demonstrate that they do not respond (or counter-respond, as the case may be) to the roles imposed on them by the system, while others seem instead to be seduced and subjugated in an essentially infinite loop-cycle.  Sex Worker is the prolonged 'pursuit' of a prostitute in Grand Theft Auto V, a documentation of the behaviour of this type of virtualised identity subject. As such, it is (and is) invested with a series of rhetorics and idealisations. The work is inspired by both artistic theory and practice. On the one hand, the researcher W. J. T. Mitchell's questioning of the will of images, their organicity and their being alive and vital. On the other hand, the performance-routine of the artist Vito Acconci in his Following Piece (1969). A final source of inspiration probably concerns the unspeakable: fractures, fragments, archives and cognitive and mnemonic collections that have guided my practice up to this point, and of which, perhaps, I remember nothing.

Luca Miranda is an artist, writer, curator and independent researcher that works and lives in Italy. His artist practice looks at the relationship between reality and simulation and at the historic and politic rhetoric that lies beneath. He is interested in investigating video game as text and critic tool to highlight its inner contradictions as well as the contemporary media culture’s paradoxes. Part of Miranda practice concerns about the analysis of the avatar figure, its functions, and purposes within culture and the videoludic. Some of his areas of work are machinima and game photography, together with experimentation with filmic and photographic traditional languages. In 2018 he co-founded Eremo, an artistic collective based in Milan that operates among the intersections of video game, sound art, performance and contemporary art. He actively collaborates with writer and researcher Riccardo Retez, with several projects underway. Since 2020 he is part of the Milan Machinima Festival curatorial Committee, a festival dedicated to machinima, Game art and cinematographic experimentation.

 IT 

Luca Miranda, Sex worker, 2021, 54’43’’

Il lavoro è sia parte autonoma sia parte integrante di un progetto più ampio focalizzato sull’indagine e la documentazione delle routine degli NPCs iniziato nel 2020. Qui, il termine routine non viene inteso unicamente nell’accezione di “programmazione tecnica”, ma altresì come dimensione che si situa parallelamente e oltre il nostro avvicinarci, concettualizzare e relazionarci con protesi virtuali e identità simulacrali. Ho utilizzato – e uso tuttora – tre videogiochi tripla A open world come campo di prova e di indagine: Grand Theft Auto V (2013), Fallout 4 (2015), Rage 2 (2019). In questa tipologia di giochi, gli NPCs sono interessanti per un duplice motivo: rappresentano una socialità virtualmente reale ed esternalizzano diversi tipi di fratture interstiziali con la loro funzione preposta. Si funzionalizzano – e concettualizzano – non semplicemente come mera controparte virtuale di una popolazione simulata, esplicitando in tal modo un vero e proprio potenziale antropologico. Cosa fanno gli NPCs nella loro vita (espressa in secondi, minuti, ore)? Dove vanno? In che modo e perché si attivano i loro comportamenti contrapposti o complementari al sistema che li governa? Sono soggetti a reazioni e azioni segrete oppure si rifanno unicamente alla loro quotidianità? E come si configura questa presunta quotidianità? In un certo senso, le loro routine quotidiane e la nostra relazione con la loro esistenza spesso non sono diverse dalla relazione “ordinaria” tra noi esseri umani. Si pensi ad esempio alle grandi metropolitane: interfacce, schermi e comparse di carne, ossa, sangue e sinapsi schizzano – più e meno velocemente, più o meno vorticosamente – l’uno di fianco alle altre senza interrogarsi sull’erranza reciproca. Invece, da una prospettiva squisitamente tecnica, gli NPCs dimostrano spesso di non rispondere (o controbattere, a seconda dei casi) ai ruoli imposti loro dal sistema, laddove altri ne sembrano invece sedotti e assoggettati in un loop-cycle sostanzialmente infinito. Sex Worker è “l’inseguimento” prolungato di una prostituta in Grand Theft Auto V, una documentazione del comportamento di questa tipologia di soggetto identitario virtualizzato. Come tale, è (e viene) investito da una serie di retoriche e idealizzazioni. Il lavoro è ispirato sia dalla teoria che dalla pratica artistica. Da un lato, l’interrogativo dello studioso W. J. T. Mitchell sul volere delle immagini, sulla loro organicità e sul loro essere vive e vitali. Dall’altro, la performance-routine dell’artista Vito Acconci nel suo Following Piece (1969). Un’ultima fonte di ispirazione riguarda probabilmente il non dicibile: fratture, frammenti, archivi e raccolti cognitivi e mnemonici che hanno guidato la mia pratica fino a questo punto, e di cui, forse, non ricordo nulla.

Luca Miranda è un artista, scrittore, curatore e ricercatore indipendente che lavora e vive in Italia. La sua pratica artistica guarda al rapporto tra realtà e simulazione e alla retorica storica e politica che sta al di sotto. È interessato a indagare il videogioco come strumento testuale e critico per evidenziare le sue contraddizioni interiori e i paradossi della cultura mediatica contemporanea. Parte della pratica di Miranda riguarda l’analisi della figura dell’avatar, le sue funzioni e gli scopi all’interno della cultura e del videoludico. Alcuni dei suoi ambiti di lavoro sono machinima e game photography, insieme alla sperimentazione di linguaggi tradizionali filmici e fotografici. Nel 2018 ha co-fondato Eremo, un collettivo artistico con sede a Milano che opera tra le intersezioni di videogame, sound art, performance e arte contemporanea. Collabora attivamente con lo scrittore e ricercatore Riccardo Retez, con diversi progetti in corso. Dal 2020 fa parte del Comitato curatoriale del Milano Machinima Festival, festival dedicato a machinima, Game art e sperimentazione cinematografica.

Luca Grimaldi

Artist's website ⟵

 EN 

Luca Grimaldi, Speech Without Speaker, 2020, 10’’46’’

Speech Without Speaker is part of a series of videos that I have been exploring for several years. In general, much of my research plays with the decontextualisation of a subject. Instead, through minimal interventions to videos taken from the internet, the subject disappears. The context, the extras, the frame are the subject - the container is the content.

Based in Rome, Luca Grimaldi (Rome, 1985), has lived and worked in different cities throughout the United States and Europe, acquiring over time a taste for repetitive, generic things found in multiple contexts.

 IT 

Luca Grimaldi, Speech Without Speaker, 2020, 10’’46’’

Speech Without Speaker fa parte di una serie di video che sto esplorando da diversi anni. In generale, molta della mia ricerca gioca con la decontestualizzazione di un soggetto. Al contrario, tramite interventi minimi a video presi da internet, il soggetto sparisce. Il contesto, le comparse, la cornice sono il soggetto - Il contenitore è il contenuto.

Luca Grimaldi (Roma, 1985) vive e lavora a Roma.Si forma tra gli Stati Uniti e il Nordeuropa, acquisendo progressivamente un gusto per gli oggetti di uso comune e le situazioni standardizzate che si ripetono in ogni contesto e latitudine.

ISIT

 EN 

ISIT.magazine is an independent publishing project born in 2018. the magazine was born from the idea of creating a platform of exchange and sharing for various figures belonging to the cultural sector, in particular the Italian and international emerging art scene. The editorial staff is composed of the two founders, Andrea Frosolini and Federica Di Pietrantonio, and Alessandra Cecchini, who have been active in contemporary art for many years. The magazine has participated in several independent publishing fairs, including FRUIT - Independent Art Fair (Bologna), PAPER - Market Edition (Rome), Internet Yami-Ichi (Bologna) and is currently distributed in our online shop, in Rome at Contemporary Cluster (best hybrid space 2019 in Italy according to Artribune) and at Roma Smistamento. In 2021 ISIT, for the first time, takes shape in space, translating the processuality of native of the construction of the native magazine in paper and web form, at Spazio In Situ. In same year ISIT presents the solo exhibition of the artist Elena Perugi on the occasion of ArtVerona, Section #pages curated by Ginevra Bria.  Articles related to the magazine can be found in print and on websites of magazines of the sector, for example in the printed version of the international magazine Made In Mind Issue 18 edited by Forme Uniche, in The Walkman Magazine and dontaskmewhybuthow edited by Guendalina Piselli, in Artribune and Artslife.

 IT 

ISIT.magazine è un progetto di editoria indipendente nato nel 2018. Il magazine nasce dall’idea di creare una piattaforma di scambio e condivisione per varie figure appartenenti al settore culturale, in particolare al panorama dell’arte emergente sia italiana che internazionale. Lo staff editoriale, è composto dai due fondatori, Andrea Frosolini e Federica Di Pietrantonio, ed Alessandra Cecchini, attivi da anni nell’arte contemporanea. La rivista ha partecipato a diverse fiere di editoria indipendente, tra cui FRUIT – Independent Art Fair (Bologna), PAPER – Market Edition (Roma), Internet Yami-Ichi (Bologna) ed è attualmente distribuita presso il nostro shop online, a Roma presso Contemporary Cluster (miglior spazio ibrido 2019 in Italia secondo Artribune ) e presso Roma Smistamento. Nel 2021 ISIT per la prima volta prende forma nello spazio, traslando la processualità propria della costruzione del magazine nativa in forma cartacea e web, presso Spazio In Situ. Nello stesso anno ISIT presenta la personale dell’artista Elena Perugi in occasione di ArtVerona, Sezione #pages a cura di Ginevra Bria. Possono essere trovati articoli relativi alla rivista su cartacei e siti web di riviste del settore, ad esempio sulla versione stampata del magazine internazionale Made In Mind Issue 18 a cura di Forme Uniche, su The Walkman Magazine e dontaskmewhybuthow a cura di Guendalina Piselli, su Artribune e Artslife.