work
anatomia vegetale – tra minecraft e spinoza
| category | Installation |
| subject | Nature |
| tags | natura, minecraft, cubo, ironico, antropocene, razionalismo |
| base | 150 cm |
| height | 150 cm |
| depth | 150 cm |
| year | 2020 |
I present two works, the installation, documented by the photos and the video.
INSTALLATION
The work was born as an installation.
A hole, the cubic carrot (made of mud, straw and salad) and garden objects.
The sounds of nature and the sounds of the provincial road.
Digging the hole is like a magical ritual to access another dimension.
After placing the carrot, the air you breathe is the one of an ecstasy, of eternal perfection.
VIDEO
A video was made to share those eternal moments in that section of space.
The video was born with an act of distrust in the middle.
It was born with the awareness of the impossibility of transporting the eternal, the totality of the experience of the work, in the two-dimensionality of
video.
To make the gap between reality and the limits of the video even more evident, the video becomes a game territory for the video to talk about itself.
Art videos often artificially push video language to its limits.
The lack of narration is a total forcing of one of the principles of the moving image.
The video here is like a caricature of the video medium. It only makes sense within the video and therefore within the narrative.
You could split the video into two acts.
The first, reality and silence;
and the second, illusion and music, which correspond respectively to static shots and subjective shots, ambient sounds and music.
Music has the power to strongly guide the narration, to let the viewer drop into a primordial dimension.
Here it is deliberately sweetening and electronic, reminiscent of the carefree jingles of Animal Crossing or Mort Garson's masterpiece Plantasia, conceived as just an auditory fertilizer for plants.
The video then becomes camouflaged, descends into the sea of mass communication, but in itself hides a remnant of the eternal.
It is oriented towards what Benjamin calls the second technique.
INSTALLATION
The work was born as an installation.
A hole, the cubic carrot (made of mud, straw and salad) and garden objects.
The sounds of nature and the sounds of the provincial road.
Digging the hole is like a magical ritual to access another dimension.
After placing the carrot, the air you breathe is the one of an ecstasy, of eternal perfection.
VIDEO
A video was made to share those eternal moments in that section of space.
The video was born with an act of distrust in the middle.
It was born with the awareness of the impossibility of transporting the eternal, the totality of the experience of the work, in the two-dimensionality of
video.
To make the gap between reality and the limits of the video even more evident, the video becomes a game territory for the video to talk about itself.
Art videos often artificially push video language to its limits.
The lack of narration is a total forcing of one of the principles of the moving image.
The video here is like a caricature of the video medium. It only makes sense within the video and therefore within the narrative.
You could split the video into two acts.
The first, reality and silence;
and the second, illusion and music, which correspond respectively to static shots and subjective shots, ambient sounds and music.
Music has the power to strongly guide the narration, to let the viewer drop into a primordial dimension.
Here it is deliberately sweetening and electronic, reminiscent of the carefree jingles of Animal Crossing or Mort Garson's masterpiece Plantasia, conceived as just an auditory fertilizer for plants.
The video then becomes camouflaged, descends into the sea of mass communication, but in itself hides a remnant of the eternal.
It is oriented towards what Benjamin calls the second technique.
