VIDEOS

“Cave of Forgotten Dreams” puts into discussion perspective mechanisms, both narrative and mnemonic constructions that characterize contemporary visual consumption. Manipulated and superimposed within the space, thousands of images downloaded from the Internet form the immersive and fractal site-specific installation. One where each viewer’s individual movement of the body and gaze corresponds to an infinite amount of unique sequence of meanings.

 

The installation deals with new formalities of production, interaction, and dissemination of images in the Digital Age. Most digital content produced is immediately shared on the Internet: the very act of taking a photo is increasingly addressed to the dissemination and manipulation of the image rather than its post-production in print and conservation. Progressively, the Internet tends to take on the form of an immense archive. One in which a series of fragmented information travel and accumulate. Interacting amongst themselves—a mix of texts, videos, and other—continuously form temporary assemblages through the action of: scrolling a Facebook wall, viewing Instagram ‘stories’, and/or using Google Search. Actions which, projected back into the world through digital screens, form a sort of a recursive but changing movie stream.

 

Given the increasing speed of user interaction and visual consumption, most image based elements are combined almost mechanically. Causing a constant loss of the viewer’s intentionality, their ability to concentrate on a single element, and their mnemonic retention. My artistic research exploits photography’s ability to slow down and crystallize the natural flow of images by contrasting its characteristics in its reading through digital screens. Within the production process, selected images pass through steps of deconstruction: first a systematic removal of the frames which delimit them, either conceptually and physically, then finally de-contextualizing and re-contextualizing the various fragment results. The outcomes are multi-layered maps of ordinary digital driftings to which we consciously submit ourselves every day. Replicating / simulating perceptual readings and mnemonic devices, the fractal structure and staggered arrangement of images on different transparent planes promotes a chaotic gaze. Resulting in each observer tending to a movement and construction of a narrative uniquely their own.

Google’s Decalogue / Spazio Gamma / Milan / 2019

The project starts from the 10 commandments, the laws written on the two tablets that, according to the Bible, were given by God to Moses on Mount Sinai. These phrases are typed in English on ‘Google Search’. The resulting material is downloaded from the Internet, digitally manipulated, printed on transparent films and subsequently mounted on aluminum to form an immersive installation. Google’s Decalogue investigates the relationship between the original univoque elements, the tables of the God’s laws, and the Multiple, the results of the researches. Starting from a single sentence one inevitably moves away towards a multitude of different directions. The Google search tool offers us a sequence of heterogeneous, various, inconsistent, sometimes inappropriate results that add so much information to the initial sentence that it becomes incomprehensible, fluctuating, ethereal, meaningless.

18 digital prints on transparent polyester, 6 alluminium frame, led lights, 12v trasformers, timers, works dimensions 70x270x36
cm

 

 

COVER – UP 

The project critically engage the curatorial proposal of Macro (Museum of Contemporary Art of Rome) to create temporary artist’s studios within the museum.

The work, intended as a performative action, is will be not carried out inside the atelier but instead in the area dedicated to the audience. The space of the Atelier # 4 remains empty while the glass surface around it emerges by getting progressively filled. The glass theca, thought as it were a materialization of a digital screen in the physical space, becomes a magmatic surface where images, downloaded from the Internet and digitally manipulated, get accumulated.

The action will be recorded and distributed through some live streamings on Facebook, videos and photographs shared by both the author and audience. The work returns to the digital space in the form of fragmentary, ubiquitous, manipulated, accelerated images, a multitude of traces of a hybrid action.

 

 

Thou shalt have no other gods before Me, ink-jet prints on transparent polyester mounted on an aluminum frame, LED lighting integrated in the frame, 12V power transformer, electric cables, 90x270x36 cm, 2019

Google’s Decalogue The project starts from the 10 commandments, the laws written on the two tablets that, according to the Bible, were given by God to Moses on Mount Sinai. These phrases are typed in English on ‘Google Search’. The resulting material is downloaded from the Internet, digitally manipulated, printed on transparent films and subsequently mounted on aluminum to form an immersive installation. Google’s Decalogue investigates the relationship between the original univoque elements, the tables of the God’s laws, and the Multiple, the results of the researches. Starting from a single sentence one inevitably moves away towards a multitude of different directions. The Google search tool offers us a sequence of heterogeneous, various, inconsistent, sometimes inappropriate results that add so much information to the initial sentence that it becomes incomprehensible, fluctuating, ethereal, meaningless.

Data Fall, a site-specific work by Pietro Catarinella 
within Interconnessione Capitolo II – Digressione 

 

 

DATA FALL, assemblage of inkjet prints on acetates, 3,75 m x 4,4 m x 1 m, site-specific installation within Interconnessione II Capitolo Digressione a cura di O’Dirk 17th-31st January 2019, Spazio Fico via Tellini 17, Milan, Italy

 

 

Internet Painting, assemblage of prints and drawings on layers of acetate, alluminium frames, 240x180x120 cm
Documentation of the work in a bipersonal show at Viafarini Studios, Via Farini 35, Milan

 

 

 

Anatomies – The Others Art Fair, Turin, 2018 
a site-specific within“Prospettive dell’infrasottile” curated by Butik Collective

 

 

 

 

Liminar Archive

site-specific installation produced and exhibited within VIR – Viafarini-in-residence