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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Spaces that associate with different times, perspectives, and spatial axes. Movement naturally deals with change; as farinotto move your perspective changes. Thirty years after Malevich, Fontana also abandoned classical ideas of space and form, in a somewhat different way, by cutting through the canvas.
I wanted the interior and exterior of this space to coexist on the same plane.
IL FARINOTTI 2018. DIZIONARIO DI TUTTI I FILM pdf, Pino e Rossella Farinotti –
A place that can be conceptualized or imagined but not experienced; a place that cannot be. I was excited to imagine what Malevich could have seen happening in there. In the work that you produced for Negative Capability which you will fariontti at Regards in Chicago, you conceptually and visually developed a new farunotti or a third space.
This feeling of living in an unfamiliar place intensifies the perception of everything around you. And then I cut and rearranged it, and placed my personal objects inside the piece.
File:Pino – Wikimedia Commons
I kept the dimensions of my piece the same as he had chosen. His revolutionary gesture took the shape of a minimal black square, an icon that resisted the traditional image making.
This coincidence inspired us to continue our conversation over the next few months. But from the beginning I started building up the surface. Farlnotti create a place that was contradictory or irrational.
I knew part of me was rebelling against a patriarchal figure in my art life. I gave it dimension and stretched it into the room, and its space became architectural.
In the recent drawings, your approach to creating multi-dimensional spaces is similar to the wall sculptures. Farinoti Artists Ten News Contact. In the last years she curated various exhibitions on young Italian artists. As you mentioned, this sounds like an attempt to ground myself in this new unfamiliar environment. Did you know where you wanted to arrive? In all the work and its movement there is an attempt to discover something new in unexpected places. I want to create different kinds of spaces in the piece.
Maybe dimensions that are architectural. To open up a conversation that can fluctuate between political and existential, personal and universal. Some are combinations of different perspectives and others refer to multiple spaces, which suggest movement of some sort. In these recent works, you are dealing with an inner shift of material and movement in viewpoints and eye-level. I also noticed that in these recent works you moved towards using color, how did you darinotti the colors and how did they enter the work?
Your drawings and sculptures are not abstract. I think placing myself between two very different aesthetics and ideologies allows me to create a more complicated personal language. The movement in my work, whether it is tangible or not, is a form of restless engagement with materials, ideas, and the environment.
You removed the black square from the white canvas, farinptti not only that, but you turned its space inside out.
And one does not get lost but loses oneself, with the implication that it is a conscious choice, a chosen surrender, a psychic state achievable through geography. I also want to bring up the farinohti you chose for the show, Negative Capability. And I found this relationship, me and this older Russian man, funny. In the performance the movement was more a vehicle to know and learn about my presence and the presence of others in the environment.
Yes, a third space or a hybrid space that is not simply material nor mental.
Rossella Farinotti is a contemporary art critic, curator and writer. From to she was the assistant of the Ministry of culture of Milan. I like your comparison of the body faarinotti space by walking and sculptures penetrating space as they are being made. I remember this piece, Encounter in placefromwhere you were going around your neighborhood in Chicago and taking pictures through a piece of punctured paper.
I like to imagine a place where new subjectivities are possible and it frainotti for difference; difference in seeing, looking at things, and being seen.
It was very exciting to learn about these revolutionary artists because their work was not didactic or representational, unlike what I had seen around me and I was farlnotti bored with. How did you start with the first piece? Your approach is not only aesthetic or ephemeral, it actually becomes a real reflection on time and space. It seems to me you found new dimensions in these works.