Friday, April 30, 2010
Thursday, April 1, 2010
Ungroomed White Schnauzer
Look at Festival - Workers on the roof
I expose my work to the worker on the roof Look at Festival 2010:
Italian workers in difficulty, to be heard by someone were forced to climb on scaffolding and roofs, as an extreme act of denunciation of their condition. The spectacular nature of these safeguards was the only way I found to tell their story of everyday resistance. In doing so, those workers thought the best way to get on television. Because this was used to give real substance to their fight that he would never "existed" if anyone had seen her.
All of us have seen the images that documented these events, but often the protests do not even come to the CRT. Yet, behind that screen, there is a real world that is constantly ignored by the simple fact that no television transmits images.
If I put a person on a roof to make him tell his story will not be as "real" as when her image through a screen.
Television replacing man, as the screens placed above the roof replace workers who protest. So here is that the unedited video shot by amateur families of the workers become the "real" when they are "TV", because the current perception of reality television dall'imprimatur passes inexorably.
Just listen to them, we replace the workers their image and the cathode at the place of protest they choose. The media system allows room for dissent only if transformed into a spectacle. The reality is less real than television?
image and title of this edition, which will host installations by Mario Canali, Asst Dn @, Theo Eshetu, Giulia Gerace and Tiziana Bertoncini, Marcantonio Lunardi, Lorenzo Pizzanelli and Fariba Ferdosi, Marco Pucci, Sara Rossi, James Green. Imagination (creative, metaphorical, kaleidoscopic, realistic) and actions (generative, interactive, dialectical) are proposed by the artists is as important factors in creating their works, as well as invite the participation of the viewer, in some cases physically interactive, in other more imaginative, intimate, speculative. Viewers will have to choose which path to face the entrance of the exhibition, if they want to think or act first, depending on your curiosity and the degree of involvement they desire to experiment.
Italian workers in difficulty, to be heard by someone were forced to climb on scaffolding and roofs, as an extreme act of denunciation of their condition. The spectacular nature of these safeguards was the only way I found to tell their story of everyday resistance. In doing so, those workers thought the best way to get on television. Because this was used to give real substance to their fight that he would never "existed" if anyone had seen her.
All of us have seen the images that documented these events, but often the protests do not even come to the CRT. Yet, behind that screen, there is a real world that is constantly ignored by the simple fact that no television transmits images.
If I put a person on a roof to make him tell his story will not be as "real" as when her image through a screen.
Television replacing man, as the screens placed above the roof replace workers who protest. So here is that the unedited video shot by amateur families of the workers become the "real" when they are "TV", because the current perception of reality television dall'imprimatur passes inexorably.
Just listen to them, we replace the workers their image and the cathode at the place of protest they choose. The media system allows room for dissent only if transformed into a spectacle. The reality is less real than television?
image and title of this edition, which will host installations by Mario Canali, Asst Dn @, Theo Eshetu, Giulia Gerace and Tiziana Bertoncini, Marcantonio Lunardi, Lorenzo Pizzanelli and Fariba Ferdosi, Marco Pucci, Sara Rossi, James Green. Imagination (creative, metaphorical, kaleidoscopic, realistic) and actions (generative, interactive, dialectical) are proposed by the artists is as important factors in creating their works, as well as invite the participation of the viewer, in some cases physically interactive, in other more imaginative, intimate, speculative. Viewers will have to choose which path to face the entrance of the exhibition, if they want to think or act first, depending on your curiosity and the degree of involvement they desire to experiment.
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