This fragmented superimposition of seemingly disconnected elements draws attention towards the common interconnected network which we are all dependent on. In this video, through the merging of softly undulating organic beings with erratic digital disturbance and sterile environments, elements are denaturalized, influencing and interacting with each other. By combining colonialist imagery, religious edifices and starkly modern animation, this video makes overarching references to the links between the colonisation of the Americas and the new age of digital colonialism.
Filmed at Fun Factory, one of Europe's largest manufacturer of sex toys located in Bremen, the video Before Nightfall is an uninterrupted stream of astonishing speeches from workers, extraordinary shapes, colors and elements that convey beauty and fear of the everyday. The film also reflects on the impact of digital technologies in our lives and humans need for an escape from a freaking controlled orderly society.
Careers ended up into the void, disappeared black and white faces, forgotten stories. By finding accidentally a collection of pictures of Hollywood actresses from the 20s and the 50s, the artists outlined their lives and careers, often very brief. This video is a collection of scenes, from a static condition of oblivion they come back to being “motion pictures”, for very brief moments but still long enough to sum up a life time, until that faraway moment where those faces will once again be frozen.
he work has been produced using the found-footage technique. The artists have juxtaposed fragments from old, romantic, mostly Hollywood films. Then they searched the life stories of the lead actors. It turned out that the male actors went on to have a long, happy and successful life. In contrasts, the female leads quickly came to the end of their professional career, some committed suicide, while others became alcoholic. In a simplistic, but poignant way, this gender work demonstrates the unequal chances and possibilities of both genders in performing a role of a love object.
The video ‘Cluster Memories’ was thought to represent the dynamics of memory. The entire screenplay taken from the movie Apocalypse Now runs fast on the face of the main character, Captain Willard. The script is set as closing credits and imitates the layout of a poem. In a short time, with the Doors' soundtrack, the video creates a suspended and oniric atmosphere where the memories seem to overlap. It is not possible to read the entire screenplay, only some fragments. They are the fragments that the public recognises most and that were more strongly impressed in their memories as well as in the memories of the main character of the film. The blink of Willard's eyelids while he stares the fan on the ceiling, the music on the background, all loops in shorter and longer cycles, until the dream wears out.
The Last Supper combines contradictions and false myths that can be found in Sao Paulo. The “apostles” are short-lived delinquents, protagonists of a brutal urban life of which they are often the victims. This precariousness of existence is further accentuated by using portraits that are hard to distinguish. Their features decomposed by the low definition of the pixels, makes both the identification and the identity problematic, and indicates the multiplicity of cases.
The video takes its premises from the recurrent "Not In My Back Yard" syndrome, where we welcome some projects but on condition that are developed away from us. Similarly, while we may repel the events depicted in this video, most of us do not take action as these tragedies happen 'so far away'. NIMBY stresses how these social issues were already fought against a hundred years ago by the thirteen activists selected. Their decrying statements are followed by recent TV reports run by major and minor networks as well as documentaries.
Two virtual profiles, handsome and imperturbable, similar but not identical, are elegantly silhouetted against a plain black ground. They pronounce, alternately, a string of words constructed by identifying, through an electronic dictionary, synonyms of the word that opens the sequence, ethics: ethics, morality, values, principles, beliefs… But the synonyms do not exist. Judgment, verdict, power, influence… Paradoxically, in the rapid progression, the meaning of the words gradually shifts until it has reached the very opposite of ethics: No ethics. The subversive power of evil seems to lie behind the words pronounced. Where attention to differences is lacking, a degeneration of meaning may be produced. But life, history does not proceed in a single direction. Having reached the end, the sequence starts again, beginning from the end: No Ethics, immorality… After the brutal descent, there is a re-ascent, until we return to Ethics, or rather Etix, anagram of Exit. The critical attention of the smallest details, to the worlds of sense and experience that are opened up behind even a single word, may represent the way out.
A hypnotic power based on the perpetual motion, imprisoned in the ever post-colonial structure, Uphill opens with a view of an uphill street of metallic grey cobblestones that may recall a Renaissance atmosphere. The slope occupies more than half the image with in the background empty houses that function as theatrical set; meanwhile, a spectral atmosphere hovers over the whole scene, intensified by the haunting music. Suddenly moving figures appear, shown in slow motion, they seem like souls in torment condemned to perpetual motion in an anomalous circle of hell, wanderers in no-man’s land, who do not know their destination. They seem ghosts and they are shot from behind, walking from the bottom to the top, swept away by an ascensional current, absent humanity that does not burden the process of development and industrialization underway because they consume and produce little, they fade into nothing, aware that they will never arrive at the top of the street. The burden of a dead city, illuminated by a cold, chilling light, even if the scene takes place in the middle of the day.
What does it mean to translate? The first and consoling reply would be: it means to say the same thing in another language. But the question is in actual fact a good deal more complicated than that, as Umberto Eco has explained very well in his latest book, recently published in Italy. Its title is: Dire quasi la stessa cosa (Saying Almost the Same Thing), where the almost expresses all the complexity of the argument. If the literal translation of a passage may produce unexpected, and sometimes hilarious, results (it’s enough to try out any automatic translator contained in word-processing programs), indiscriminate interpretation risks depriving the text not only of its meaning but also of its musicality, its dramatic charge. So what’s the solution? What is the degree of arbitrariness permitted so that a text may be said to have been respected in translation? In the passage from one language to another, from one culture to another, what part of the original meaning, of the original emotion is it possible to communicate? Of the many aspects to be borne in mind in translation, Debora Hirsch has decided to privilege what it is that seems least essential and to transpose into English Canto I of the Divine Comedy, preserving only the sound of Dante’s verses, their phonetic structure. She empties the text of meaning and leaves only assonance, the sensorial dimension of sound. And, what is more, that dimension is frozen in the metallic diction of the digital image which scans the words on the screen, a simulacrum of a woman who recites a simulacrum of poetry, a perfect image for our age in which, as Bukowsky said, there’s no longer any space for verse to re-echo, unless in the intimacy of someone who reads in silence.
In this concise apothegmatic act, NY poet Sparrow reads from his literary texts, selected to dissect the corpse of modern and fictional organizations. At the same time, a recitation of meta-political sentences on an App digitized Italian voice interferes with it and projects a shadow of propagation.
Sovrapposizione is a series of works where two videos are projected in a superposition. Sovrapposizione 1 is the first of a series of works sharing the same projection surface, a video of a wide NY open space during the night and extracts from a trailer created to produce a fictitious launch of the Brazilian landmark movie Limite. These two radically different videos, are projected together, randomly synced, still perfectly integrated.