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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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. Nazafarin was inspired by his writings and how he simplified ideas, energies, and forces farinorti shapes and colors. His revolutionary gesture took the shape of a minimal black square, an icon that resisted the traditional image making.
Thirty years after Malevich, Fontana also abandoned classical ideas of space and form, in a somewhat different way, by cutting through the canvas. This coincidence inspired us to continue our conversation over the next ul months. What was it that interested you, and why Black Square?
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.
I was attracted to it aesthetically because it was totally unfamiliar to me then.
I grew up with social realist propaganda and had developed a mistrust of it. 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 so bored with.
Il Farinotti 2012. Dizionario di tutti i film
However, I see my work more opposing the utopian universalism that Suprematism proposed. Also opposing the universalism of the social realism that Farknotti grew up with.
I think placing myself between two very different aesthetics and ideologies allows me to create a more complicated personal fafinotti. And that does more justice to the complexities that I experience as an Iranian female artist living in the U. How did you start with the first piece?
Did you know where you wanted to arrive? There was something irritating about this flat utopian space, and I wanted to work with that. I was excited to imagine what Malevich could have seen happening in there. And I found this relationship, me and this older Russian man, funny.
Rossella Farinotti (Author of Il quadro che visse due volte)
I kept the dimensions of my piece the same as he had chosen. But from the beginning I started building up the surface. And then I cut and rearranged it, and placed my personal objects inside the piece. I fainotti part of me was rebelling against a patriarchal figure in my art life.
Your drawings and sculptures are not abstract. They overwhelmed the two-dimensional Black Squarewhich sort of represents a gate. You removed the black square from the white canvas, and not only that, but you turned its space inside out. I gave it dimension and stretched it into the room, and its space fairnotti architectural. I wanted the interior and exterior of this space to coexist on the same plane. To create a place that was contradictory or irrational.
These unstable places allow things to develop outside of their constructed binaries.
It seems to me you found new dimensions in these works. Maybe dimensions that are architectural. Also, the negative spaces are crucial. You literally cut into the piece and showed us what is inside. I also want to bring up the title you chose for the show, Negative Capability. Can you talk about it? Thinking about utopia and what it means, its contradictory nature attracted me. A place that can farinitti conceptualized or imagined but not experienced; a place that cannot be. I was working with spaces that negate tarinotti.
To open up a conversation that can fluctuate between political and existential, personal and universal. Politics is a latent presence in your work but not in a farinorti way.
I remember this piece, Encounter in placefromwhere you were going around your neighborhood in Chicago and taking pictures through a piece of punctured paper.
The act of looking for something that was beyond the paper—which represented a window to frame reality or see through—is political. In the recent drawings, your approach to creating multi-dimensional spaces is similar to the wall sculptures.
Some are combinations of different perspectives and others refer to multiple spaces, which suggest movement of some sort. This reminds me of the performance you did with your sculptures at the park during your residency at the Arts Incubator. In these recent works, you are dealing with an inner shift of material and movement in viewpoints and eye-level. But in the performance you were physically moving the sculptures. I like your comparison of the body penetrating space by walking and sculptures penetrating space as they are being made.
And how bodies and sculptures interact with space. As you mentioned, the drawings describe movement through a set of shifting perspectives. In the performance the movement was more a vehicle to know and learn about my presence and the presence of farinohti in the environment.
Movement naturally deals farintti change; as you move your perspective changes. In all the work and its movement there is an attempt to discover something new farinitti unexpected places. This movement literally and conceptually opens up space for experimentation. The movement in my work, whether it is tangible or not, is a form of restless engagement with materials, ideas, io the environment.
Class (film) – Wikipedia
Your approach is not only aesthetic or ephemeral, carinotti actually becomes a real reflection on time and space. This feeling of living in an unfamiliar place intensifies the perception of everything around you.
I also noticed that in these recent works you moved towards using color, how did you fqrinotti the colors and how did they enter the work?
I associate the grayscale with mental space and color with the physical world. The orange came from a piece of fabric that I found at the studio. I introduced yellow ochre and earth-tones in contrast to the gray in order to add weight and also to evoke my daily landscape. As you mentioned, this sounds like an attempt to ground myself in this new unfamiliar environment. And also an attempt to look closely and pay attention. I want to create different kinds of spaces in the piece.
Spaces that associate with different times, perspectives, and spatial axes. In the work that you produced for Negative Capability which you will show faronotti Regards in Chicago, you conceptually and visually developed a new dimension or a third space. Yes, a third space or a hybrid space that is not simply material nor mental. I describe it as a space that opens up a conversation about our distinctly different personal, political, and historical experiences.
A space that questions the farinottj reductionism of this versus that. I like to imagine a place where new subjectivities are possible and it allows for difference; difference in seeing, looking at things, and being seen. These ambiguous conditions are places where resistance, fafinotti, and rest are possible.
Rossella Farinotti is a contemporary art critic, curator and writer. Farinotgi is the co-author of the film encyclopedia il Farinotti ; contributor to publications and magazines such as Zero.
Inshe published il Quadro che visse due volte Milan: Morellini Publishing,a book on farihotti close relationship between art and film. In she realized Arte contemporanea: From to she was the assistant of the Ministry of culture of Milan.
In the last years she curated various exhibitions on young Italian artists. Since she lives and works between Milan and Chicago. Exhibitions Artists Ten News Contact.