L’unico dizionario di tutti i film, il primo da navigare, Cinisello Balsamo, San Paolo, Il Farinotti Dizionario di tutti i film, Roma, Newton Compton editori. Rossella Farinotti is the author of Il quadro che visse due volte ( avg rating, 0 ratings, 0 reviews, published ) and Il Farinotti ( avg r. Chi nella propria vita abbia visto più di una decina di film sa che la storia del cinema non si può che declinare al plurale: quella che per comodità di targhette .
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I also want to bring up the title you chose for the farinnotti, Negative Capability. And also an attempt to look closely and pay attention. You literally cut into the piece and showed us what is inside.
Maybe dimensions that are architectural. Movement naturally deals with change; as you move your perspective changes. To create a place that was contradictory or irrational. Politics is a latent presence in your work but not in a didactic way. In the work that you produced for Negative Capability which you will show at Regards in Chicago, you conceptually and visually developed a new dimension or a third space.
These ambiguous conditions are places where resistance, imagination, and rest are possible. Spaces that associate with different times, perspectives, and spatial axes. And I found this relationship, me and this older Russian man, funny.
They overwhelmed the two-dimensional Black Squarewhich sort of farunotti a gate.
File:Pino – Wikimedia Commons
There was something irritating about this flat utopian space, and I wanted to work with that. Can you talk about it? Also opposing the universalism of the social realism that I grew up with.
I wanted the interior and exterior of this space to coexist on the farinktti plane. I associate the grayscale with mental space and color with the physical world. In the performance the movement was more a farinott to know and learn about my presence and the presence of others in the environment.
I knew part of me was rebelling against a patriarchal figure in my art life. I first learned about the Russian avant-garde artists in undergrad when I was studying design in Iran and became fascinated by their abstract language which was political and revolutionary.
Il Farinotti 2012. Dizionario di tutti i film
In these recent works, you are dealing with an inner shift of material and movement in viewpoints and eye-level. Some are combinations of different perspectives and others refer to multiple spaces, which suggest movement of some sort.
I kept the dimensions of my piece the same as he had chosen. This reminds me of the performance you did with your sculptures at the park during your residency at the Arts Incubator. In all the work and its movement there is an attempt to discover something new in unexpected places.
Your drawings and sculptures are not abstract. I grew up with social realist propaganda and had developed a mistrust of it. I want to create different farinotit of spaces in the piece. I think placing myself between two very different aesthetics and ideologies allows me to create a more complicated personal language. And one does not get lost but loses oneself, with the implication that it is a conscious choice, a carinotti surrender, a psychic state achievable through geography.
I also noticed that in these recent farinohti you moved towards using color, how did you choose the colors and how did they enter the work? Thinking about utopia and what it means, its contradictory nature attracted me. Rossella Farinotti is a contemporary art critic, curator and writer.
A place that can be conceptualized or imagined but not experienced; a place that cannot be. How did you start with the first piece? Since she lives and works between Milan and Chicago.
Also, the negative spaces are crucial. However, I see my work more opposing the utopian universalism that Suprematism proposed. The movement in my work, whether it is tangible or not, is a form of restless engagement with materials, ideas, and the environment. As you mentioned, this sounds like an attempt to ground myself in this new unfamiliar environment. Yes, a third space or a hybrid space that is not simply material nor mental.
I gave it dimension and stretched it into the room, and its space became architectural. Morellini Publishing,a book on the close relationship between art and film.