Published on Thuesday, July 14th, 2011
Last Tuesday in the auditorium of Santa Cristina, a two hours long marathon took place: it consisted in various video of 40 artists, mostly of Italian origin. Some were slow and repetitive, but the majority gave an interesting overview of the current situation in Italian video art in its variety of languages and expressions. I would assemble by type these videos so to try and create lines of continuity. Starting with the video of pure speed, not exempt from the glowing examples of the immediacy of the news and media entertainment: an eye-catching and brief visual flash is the Tree of Swords by Nicola Ballarini: from the fast moving pair of mechanical mechanisms, perhaps mindful of avant-garde films from the '20s or the Electric Theatre; another one, longer, but still agile and well choreographed, in modern language that extends the figures in lines
creating fantastic forms and movements, is Corpus Nobody by Basmati . To be added to the short list is The Great Ratzinger by Laurina Paperina for the synthesis of form and the syncopated rhythm of the hilarious and irreverent adventure of the caricature figure of the pope. Grouped under the rather lyric videos connotation which, although with different techniques, expresses similarities with nature and themes that recall the old or the fairytale world of childhood. I am Lady Fuchsia - Mer de glace by Bruno Benuzzi, where the bluebells flower in front of a snowy landscape, move as if they were dancing for real, in a beautiful plot time between nature and culture; the video with synthetic animals in rich landscapes with references to romantic Japanese anime with Toba Toba is Hiroshima Atomic Bomb Survivors by Ayako, which has, superimposed on the image paired into two frames of the sea, the words penned in memory of his mother, repeated in a sad and sweet litany.
I would put the short film by Christian Rainer
among this group and the next one, tied to the language of a narrative film, a pattern, a view of reality.
by Rainer, consists of a series of family pictures, indoors, where a photo is burning, through a glass where the players are reflected and vanish outside where the sky is the only horizon. Continuing we reach the third group. Daydreaming
by Riccardo Benassi
proposes the theme of travel again, this time by car, rushing in with the landscape on either side of the window and finding resonance with the poetic preferences of Robert Cahen, with a more ironic and bewildered manner. Action # 3
by Andrea Dojmi
begins with close-ups of the asphalt where we find out somehow kids playing basketball in the background of graffiti fragments. Even here there is a reference to many visions of the urban periphery of American films, viewed from details, however magnified, as would a visual artist. To the performance language refers the following group. First of all the canonical distance
by Silvia Camporesi
, where the artist first runs along the river, then next to a salt mine and finally in a forest... with a dark trawler dancing and running in the wind perhaps precisely to measure the relationship between self and space.
A little 'retro, taking back almost to the seventies with that grainy black and white, is the video of the face in the foreground that cleverly expresses different expressions, ranging from laughter to tears to anger to fear by Anita Calà
Between performance and installation is the column of shirts waving flags standing as a symbol of land, now intimate and personal, torn by the wind one by one by Denis Venturelli
. Finally I would add The great Dame
, the ironic work by Sergia Avveduti
, where two people sitting with a stick shift off the dishes as if they were playing golf, but in reality these dislocations and the spatial concentration of the players correspons, as the title says, the game of chess. At this point I would put the animations. From the simplest ones, rather elementary, but with the grace of Egyptian art in the row arrangement and silouhettes cutting accompanied by carillon by Rita Casdia
to the mutations by Daniela di Maro
, where the starting point is represented by spatial geographies described in the sky by flocks of birds, which then become points and waves of computer graphics; computer graphics has always inspired Gabriele Pesci
, present with Source
, where lines moving in space and rotating generate the signature tune.
curated by carmen lorenzetti
Videoart Yearbook 2011 sixth edition presentation
Curated by the Department of Visual Arts at the Alma Mater Studiorum - Bologna University
Ludica is the animation by Kensuke Koike
, where a mountain of colored balls with a shotgun and break targets a brown head. A political reflection is present with the videos by Marcantonio Lunardi
, that records the debut of a Silvio Berlusconi’s speech in the image of a specimen, while Carol Sabbadini
broadens the horizon and brings the discussion on the proliferation of languages at Babel in the Bible, the Torah and the Koran, showing a common root in all religions.
List of Videoart Artists Yearbook 2011
Sergia Avveduti, Nicola Ballarini, Chiara Balsamo, Basmati, Riccardo Benassi, Bruno Benuzzi, Nicola Bettale, Alessandra Caccia, Diego Caglioni, Anita Calá, Silvia Camporesi, Rita Casdia, Luca Coclite, Carlo Dell’Acqua, Daniela Di Maro, Andrea Dojmi, Kensuke Koike, Marco Lamanna, Dario Lazzaretto, Lithos 19, Marcantonio Lunardi, Davide Mancini Zanchi, Christian Niccoli, Laurina Paperina, Caterina Pecchioli, Maria Pecchioli, Gabriele Pesci, Petri Paselli, Christian Rainer, Claudio Rivetti, Mauro Romito, Carol Sabbadini, Natalia Saurin, Teatrino Elettrico, Mona Lisa Tina, Toba Toba, Eugenia Vanni, Devis Venturelli, Debora Vrizzi, Fani Zguro
Elenco artisti selezione Archivio video del DOCVA- Documentation Center for Visual Arts, Fabbrica del Vapore, Milano Mara Bertoni, Heather Burnett Rose, Paolo Chiasera, Ihab Jadallah, Avi Mograbi, Nira Pereg, Gabriele Pesci, Oliver Pietsch
* Main Photography: LITHOS 19, Ceci n’est pas, 2010 - 5’