L'ECCEZIONE 2019 single channel video, 4 minutes
L’eccezione, HD video, 4 minutes, 2019
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L’eccezione presents a statue missing both legs and an arm, abandoned in a forest, stuck and lost. When awakened, he begins to perform small movements, similar to a dance. Despite becoming aware of his situation as a fractured statue, perhaps unchanged for centuries, he wants to let himself go to the music he hears. The nostalgic and romantic melody, a reworking of the love theme from Flashdance, is a reference to another era, allowing distant memories to emerge. The statue does its best to keep the rhythm, trying to move bones and muscles that he does not have, in movements that appear both like an incredible effort and an exercise aimed at containing a long-dormant energy charge.
The video by Rä di Martino incorporates this long history of relationships between the human being and his own double by inserting it in a story that is colored with veiled compassion for this incomplete statue. If the Italian Renaissance was born from the fragmented statues of Ancient Rome that reappeared under the rubble of temples, the new Renaissance of art imagined by Rä di Martino arises from a cyborg that was abandoned in the woods and wants to dance again, before falling asleep, perhaps for forever, while waiting for a new resurrection. [Sergio Risaliti] |
AFTERALL (a space mambo)
2019
single & double channel video installation
2019
single & double channel video installation
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Rä di Martino uses a clear language in the two-channel projection, but leaves the chronological aspect of the story open. Every element – digital landscapes, characters, clothing and sounds – reinforces the paradoxical relationship between real and imagined. In the video each subject is accompanied by a specific sound that marks its tribal group or species. The universally known elements find themselves faced with alienating and disquieting situations. The imagined encounter between the various inhabitants of this invented future unfolds only through sounds.Within this premise of a science fiction film, imaginary characters arise, vagabonds of the future, but also small confused divinities that lose their way in real or digital landscapes. Their imaginary encounter happens only thanks to the sound that comes from different places, whose radio frequencies seem to be tuned for a moment, as in an orchestra.In the double projection thus the soundtrack plays a central role, in which noises, songs, choirs, whispers, the rhythms of nature and the sounds generated by the objects, are combined in a dissonance that includes and reveals the various imaginary identities. (Lorenzo Benedetti)
Also with: Elisabetta Benassi, Mino Di Martino., Alessandro Pezzali Music: Porcelain Raft & Josè Angelino + Simone Pappalardo |
PLAY HOUSE
2018
PHOTOGRAPHIC SERIES, SILVER GELATIN PRINTS
2018
PHOTOGRAPHIC SERIES, SILVER GELATIN PRINTS
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FOTOCASCATA (ROMA)
2018
ARCHIVAL PIGMENT PRINTS, BRASS, 70 X 65 CM
2018
ARCHIVAL PIGMENT PRINTS, BRASS, 70 X 65 CM
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Over time, music, cinema and television built a sharable and common imaginary, intertwining on many levels, and forming a free sentimental encyclopedia not based on an alphabetic or gender order. A set of signs apt to determine ages, places and experiences, both on a collective and personal level.
Even if for many this experience becomes an instrument to better arrange emotions and build personal maps with which to move inside reality through the association of memories, for someone else it represents a burden from which it’s impossible to get free, a dead weight hindering new thoughts and original visions.Poor Poor Jerry - thanks to a display scheme articulated through videos and sound installations - investigates our collective awareness, overlapping the deeds of an icon of American animated series and desert landscapes of Lanzarote with pop cinema soundtracks and dialogues. |
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OPEN TREES
(2014-ongoing) photographic series, SILVER GELATIN PRINTS , dimension variable CLICK HERE FOR FULL SERIES The history of photography is riddled with tampering and deliberate falsehoods, although they have rarely been acknowledged this openly.
Here, the artist is more concerned with these manipulations than she is with the ostensible subject. The alterations are often absurdly obvious, at other times they are more subtle, but they are never disguised. The black and white prints are printed in the dark room from the collaged negatives. This recourse to a traditional process may appear to reinstate photographic authority, but it is really another form of re-enactment undermining the archive’s claim to absolute or overarching truth. A self-conscious fake, it emerges somewhat improbably from the wall of the gallery like a partial stage set. create sustainable illusions and the ultimate precariousness of that enterprise.[...] Peter Benson Miller |