Diario Di Bordo _ resQ
fb 219DB24 ISBN: --RELATED WORK:
Diario Di Bordo _ resQ
EXHIBITION:
16.03.2024 – Cascina Cuccagna, Milano
Ask Themes
Themes
#temporal
is made specifically for a given moment in time. what remains is a residue, or derivatives, not the root of the work.
he draws a story as if he were telling it. so if you look at the final result, you don't understand it, but if you are with him during the "disegnamento" (the process of drawing), you understand everything. in fact, it seems to us that the term "disegnamento" contains in itself, in a very effective way, the idea of drawing and movement together, which cannot be separated when dealing with children, especially the youngest, who draw in a very dynamic way, thinking and tracing figures and images with almost cinematographic techniques, as fast as the mental representations of children, with sequences that narrate while they are drawn.[t. g. gallino]
time represents a specific dimension of our perception... the same physical and physiological facts that are at the origin of our experience of objects... are... processes that last in time. [...] only here we can speak of immediately intuited temporal consciousness, unitary not only with respect to the multiple given simultaneously, but also to the multiple distributed in the temporal flux of experience in action.[mauro antonelli su v. benussi]
... is nothing but the trace left by the disappearance of everything else. the random succession of partial objects and details.[j. baudrillard]
he draws a story as if he were telling it. so if you look at the final result, you don't understand it, but if you are with him during the "disegnamento" (the process of drawing), you understand everything. in fact, it seems to us that the term "disegnamento" contains in itself, in a very effective way, the idea of drawing and movement together, which cannot be separated when dealing with children, especially the youngest, who draw in a very dynamic way, thinking and tracing figures and images with almost cinematographic techniques, as fast as the mental representations of children, with sequences that narrate while they are drawn.[t. g. gallino]
time represents a specific dimension of our perception... the same physical and physiological facts that are at the origin of our experience of objects... are... processes that last in time. [...] only here we can speak of immediately intuited temporal consciousness, unitary not only with respect to the multiple given simultaneously, but also to the multiple distributed in the temporal flux of experience in action.[mauro antonelli su v. benussi]
... is nothing but the trace left by the disappearance of everything else. the random succession of partial objects and details.[j. baudrillard]
#geographical
if moved geographically the work loses its cultural value, becoming a testimony of distance.
..// #diffusedstudio
From a single place of production, the artist's studio is transformed into several diffuse and nomadic places of encounter, discovery and memory.
..// #diffusedstudio
From a single place of production, the artist's studio is transformed into several diffuse and nomadic places of encounter, discovery and memory.
#social
is made for and with a particular social group: what remains, when the work is disconnected from context, is its historicization.
social aesthetics is a work of artist [that] use the symbolic sphere of culture to affect social and political change. [david deitcher]
#thick place
#passive
within a relationship between observers
#interaction
the spectator, which activates the work, is the interacting element.
..//#adaptive the work modifies itself by interacting with the body and mind of the viewer.
..//#adaptive the work modifies itself by interacting with the body and mind of the viewer.
#experience
The spectator is not a character on stage, but is central to the experience lived as authentic in itself.
the (inner) experience in this sense, is a crack, not knowing, evidence of the unknown, absence of project, wandering in the darkness. ... we should say that experience is indestructible, even when it finds itself reduced to the survivals and hiding of mere glimmers in the night. [G. Didi-Huberman]
every discovery is both intense and fragile, and can only be rediscovered through the memory of the trace it has left in us: to visit a place for the first time is, in this way, to begin to write it down. ... in a Japanese bouquet of flowers... whatever the symbolic intentions of this construction... the circulation of air is what is produced. one can move the body forward into the interstice of its branches, into the light of its volume, not read it (read its symbolism) but retrace the path of the hand that wrote it. [r. barthes]
the (inner) experience in this sense, is a crack, not knowing, evidence of the unknown, absence of project, wandering in the darkness. ... we should say that experience is indestructible, even when it finds itself reduced to the survivals and hiding of mere glimmers in the night. [G. Didi-Huberman]
every discovery is both intense and fragile, and can only be rediscovered through the memory of the trace it has left in us: to visit a place for the first time is, in this way, to begin to write it down. ... in a Japanese bouquet of flowers... whatever the symbolic intentions of this construction... the circulation of air is what is produced. one can move the body forward into the interstice of its branches, into the light of its volume, not read it (read its symbolism) but retrace the path of the hand that wrote it. [r. barthes]
#para-performance
hidden from the conscious public, action often happens in a #thickplace. protecting the timid vitality of the #thickplace is existential empiricism. perhaps, this hiding coincides with the hermit's experience, before returning from his hermitage to the valley.
if something wants to become an image it is not to last, it is to disappear better[...] the intensity of the image is commensurate with its negation of the real, with the invention of another scene. [j. baudrillard]
if something wants to become an image it is not to last, it is to disappear better[...] the intensity of the image is commensurate with its negation of the real, with the invention of another scene. [j. baudrillard]
#eterodetermined
we could also call it a natural form: nature in fact creates its forms according to the material, the use, the function, the environment. simple forms like the drop of water or more complicated forms like that of the praying mantis, but all built according to the laws of constructive economy.....so it seems that an exact thing is also beautiful ...[b. munari]
the apparently autonomous, purely aesthetic character of the work is something quite different > not in my intentions.
[a. warburg]
.. / #unproductive
an intentionally produced sign represents a will to communicate, a demand for attention. our private time is occupied and colonized by a mass design.
... the concept of money as a phenomenal form of the measure immanent in the value of commodities of the time of work goes into crisis.
... the non-existence of labor - the insignificance for the production of authentic value. [f.vaccari]
.. /#non action
“do nothing farming” . no cultivation – no plowing no fertilizers no weeding no pesticides [masanobu fukuoka]
the apparently autonomous, purely aesthetic character of the work is something quite different > not in my intentions.
[a. warburg]
.. / #unproductive
an intentionally produced sign represents a will to communicate, a demand for attention. our private time is occupied and colonized by a mass design.
... the concept of money as a phenomenal form of the measure immanent in the value of commodities of the time of work goes into crisis.
... the non-existence of labor - the insignificance for the production of authentic value. [f.vaccari]
.. /#non action
“do nothing farming” . no cultivation – no plowing no fertilizers no weeding no pesticides [masanobu fukuoka]
#hyperextension
the work is composed of a chain of discrete and autonomous elements that relate to each other on the basis of emergent and temporary links, which cannot be predetermined. it is endowed with a discursiveness that unfolds through various means in an uncoordinated manner. >[#residual]
each of the things is not said as a valid statement in itself, but the statement comes from the connection and interweaving of one thing with another.[aristotele]
art is able to establish a wide variety of simultaneous connections: after art we arrive at the logic of the network with links that cross space, time, gender and scale in different and surprising ways > an epistemology of research. [d. joselit]
the relationship between two objects is not something that is contained in one and the other: it is more. this interconnection between all components of the universe is staggering. [c. rovelli]
it is about open-ended continuity - creativity as this scene of unscriptedness. [s. maharaj]
each of the things is not said as a valid statement in itself, but the statement comes from the connection and interweaving of one thing with another.[aristotele]
art is able to establish a wide variety of simultaneous connections: after art we arrive at the logic of the network with links that cross space, time, gender and scale in different and surprising ways > an epistemology of research. [d. joselit]
the relationship between two objects is not something that is contained in one and the other: it is more. this interconnection between all components of the universe is staggering. [c. rovelli]
it is about open-ended continuity - creativity as this scene of unscriptedness. [s. maharaj]
#political act
gifting imagination as a political act
yes, because there is always something to decipher. every stage along the way is a single element of a written passage, of a code… that must be revealed. the aim of the exercise is however greater than the pleasure of inventing a charade and then solving it. here the aim is to verify the soundness of a virtue which is presumed to be shared by both the artist and the spectator: that which speakers of the latin language – and still today lawyers- call, with an ambivalent meaning, fides. fides that is trust… fides that is loyalty. [fur]
one of our practical responsibilities today is to see to the materialization of our utopias of freedom and equality by building these ideals into social structures. [abdullah öcalan]
aesthetics are not about politics; they are politics themselves[f.g.t]
the important thing is the plurality of values and the mechanism of tradition, which is accomplished through passages, misunderstandings, drifts, hybridizations. the images are in fact translations of the strong idea of a syncretic and conflicting western culture, born from wanderings, crossbreeding, hybridizations of the ancient classical roots.... a precise philosophical premise: the increasingly definitive dismissal of the idea of freedom. [...] paradigms that simulate reality not to cage it but to say it, to imagine it figuratively. [katia mazzuccotelli on aby warburg]
yes, because there is always something to decipher. every stage along the way is a single element of a written passage, of a code… that must be revealed. the aim of the exercise is however greater than the pleasure of inventing a charade and then solving it. here the aim is to verify the soundness of a virtue which is presumed to be shared by both the artist and the spectator: that which speakers of the latin language – and still today lawyers- call, with an ambivalent meaning, fides. fides that is trust… fides that is loyalty. [fur]
one of our practical responsibilities today is to see to the materialization of our utopias of freedom and equality by building these ideals into social structures. [abdullah öcalan]
aesthetics are not about politics; they are politics themselves[f.g.t]
the important thing is the plurality of values and the mechanism of tradition, which is accomplished through passages, misunderstandings, drifts, hybridizations. the images are in fact translations of the strong idea of a syncretic and conflicting western culture, born from wanderings, crossbreeding, hybridizations of the ancient classical roots.... a precise philosophical premise: the increasingly definitive dismissal of the idea of freedom. [...] paradigms that simulate reality not to cage it but to say it, to imagine it figuratively. [katia mazzuccotelli on aby warburg]
#biophilia
the innate tendency to focus our attention on life forms and anything that reminds us of them and, in some circumstances, to become emotionally affiliated with them [edward o. wilson]
la quaestio (§ 47) precisa che: “omnes formae materiales generabilium et corruptibilium, praeter formas elementorum, richiedono materiam et subiectum mixtum et complexionatum, ad quod tamquam ad finem ordinata sunt elementa in quantum elementa”; qui si distinguono le f. materiali di ciò che si genera e si corrompe, gl'individui, e le f. degli elementi ; le une e le altre sono tratte dalla materia, che le contiene in potenza, dalla causalità dei cieli; ma le prime richiedono che gli elementi siano già formati e ‛ complessionati ' [alfonso maierù - enciclopedia dantesca (1970). ed treccani ]
la quaestio (§ 47) precisa che: “omnes formae materiales generabilium et corruptibilium, praeter formas elementorum, richiedono materiam et subiectum mixtum et complexionatum, ad quod tamquam ad finem ordinata sunt elementa in quantum elementa”; qui si distinguono le f. materiali di ciò che si genera e si corrompe, gl'individui, e le f. degli elementi ; le une e le altre sono tratte dalla materia, che le contiene in potenza, dalla causalità dei cieli; ma le prime richiedono che gli elementi siano già formati e ‛ complessionati ' [alfonso maierù - enciclopedia dantesca (1970). ed treccani ]
#memory
the works are documents. as documents they reveal their own prehistory and the many threads that have been woven into their creation ... the individual in the arena of history. [aby warburg]
entanglement could be responsible for keeping objective reality behind a veil. [nyt]
we have a duty to overcome this traditional fear of life's transformative energies, this distrust of the creative power of time. truth transforms, evolves. [a. dorner]
the mercantile order has initially incited to store chronophagous objects, books, records, films in a material way, and then, today, to do so in a virtual way: unlimited, illusory accumulations, now devoid of any relationship with the actual possibility of making use of them. ... future works of art will return more and more often around this theme of time, which has become an obsession.... some will discover, therefore, that even freedom is nothing more than the illusory manifestation of a whim within the prison of time. [j. attali]
deterritorialization [cultural] constitutes one of the most powerful forces in the contemporary world[...] for this reason the imagination of individuals and groups no longer refers to a place, a territory as a point of anchorage of their experience and identity.[a. staid]
in quantum physics, is called entanglement the phenomenon for which two distant objects, for example two particles that have met in the past, retain a kind of strange bond, as if they could continue to talk to each other. [c. rovelli]
entanglement could be responsible for keeping objective reality behind a veil. [nyt]
we have a duty to overcome this traditional fear of life's transformative energies, this distrust of the creative power of time. truth transforms, evolves. [a. dorner]
the mercantile order has initially incited to store chronophagous objects, books, records, films in a material way, and then, today, to do so in a virtual way: unlimited, illusory accumulations, now devoid of any relationship with the actual possibility of making use of them. ... future works of art will return more and more often around this theme of time, which has become an obsession.... some will discover, therefore, that even freedom is nothing more than the illusory manifestation of a whim within the prison of time. [j. attali]
deterritorialization [cultural] constitutes one of the most powerful forces in the contemporary world[...] for this reason the imagination of individuals and groups no longer refers to a place, a territory as a point of anchorage of their experience and identity.[a. staid]
in quantum physics, is called entanglement the phenomenon for which two distant objects, for example two particles that have met in the past, retain a kind of strange bond, as if they could continue to talk to each other. [c. rovelli]
#tecnology
works that contain research into technology in its broadest sense
we know that only technical ways in artistic realization can be taught: not art.... an artist who knows how to approach human needs according to a precise method conscious of his creative power, of his own work independent of formulas. [walter gropius]
we know that only technical ways in artistic realization can be taught: not art.... an artist who knows how to approach human needs according to a precise method conscious of his creative power, of his own work independent of formulas. [walter gropius]
#pseudoscience
a research between scientific rigor and divertissement, between otium and negotium in a stratification of scientific, literary, philosophical and historical references. [s. volpato]
because illusion is not opposed to reality, it constitutes a subtler one that envelops the former with the sign of its disappearance. [j. b.]
the intuition of living beings cannot be underestimated. the meaning of life that we are searching for may well be hidden in this intuition. we should not think of intuition as something independent of the macro or the micro universes but as a fundamental characteristic of the universe. it follows that the mythological method cannot be insignificant; it may, indeed, contribute as much to our understanding of the universe as the scientific method. [abdullah öcalan]
the magical thought will magically disappear
because illusion is not opposed to reality, it constitutes a subtler one that envelops the former with the sign of its disappearance. [j. b.]
the intuition of living beings cannot be underestimated. the meaning of life that we are searching for may well be hidden in this intuition. we should not think of intuition as something independent of the macro or the micro universes but as a fundamental characteristic of the universe. it follows that the mythological method cannot be insignificant; it may, indeed, contribute as much to our understanding of the universe as the scientific method. [abdullah öcalan]
the magical thought will magically disappear
Biography
f’ traces his research path between exploration and experience [#para_performance] to create immersive, interactive installations that reflect a complex lived reality [#dense_place]. Each work consists of a chain of discrete, autonomous elements that connect through emergent and temporary, non-predetermined bonds. These interactions possess a discursiveness that unfolds across various media, often in an uncoordinated manner [#hyperextension].
f’ works span traditional methodologies and cutting-edge digital technologies, seamlessly blending theoretical insights with practical experimentation. These creations frequently emerge through participatory processes, adopting a reciprocal methodology that leverages collective intelligence to craft immersive, haptic experiences [#heterodirected].
The nuanced interaction between humanity and nature [#biophilia] forms the foundation of f’ inquiry, through which f’ explores pressing political and social processes, translating them into poetic and visionary works born from the synthesis of collective data and personal practice [#political_act].
f’ strives to develop a critical topography of perception by analyzing the “digital episteme” and its impact on social imagination. f’ aim is to investigate how technological mediations can cognitively and perceptually shape our understanding of reality.
A significant part of f’ recent work revolves around the concept of ‘civil patronage’, evolving as an artistic operation in relation to social practice mechanisms. This approach to art begins with action in the territory, activated through engagement with the encountered reality, considering its meaningful elements, history, memory, contradictions, and conflicts.
f’ works and projects have been presented at Italian and international institutions, including Museo Madre, Napoli; Kulturni Centar, Bihac, Bosnia and Herzegovina; Mediamatic, Amsterdam ; Fondazione Sandretto Re Rebaudengo, Torino; Museo del Novecento, Milano; Centro per l’Arte Contemporanea Luigi Pecci, Prato; Fondazione Arnaldo Pomodoro, Milano; ‘A cielo aperto’, Latronico; Skaftfell project space, Center for Visual Art, East Iceland; 3rd Land Art Biennial LAM 360°, Mongolia; Auditorium Kunstnernes Hus – KHIO, Oslo; Sinop Biennale, Sinop (Turchia).
since 1999 f’ has created, founded and directed several projects.
the most recent are Carrozzeria Margot , a2410
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Diario Di Bordo _ resQ
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Artissima Lido
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A/4 8 studi
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