Exhibition Catalogue

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Exhibition Catalogue Creation is all about intercessors. Without them, no artwork. The Metamorphoses of the Virtual The Metamorphoses of the Virtual They can be people—for a philosopher, artists or scientists; for a scientist, philosophers or artists—but they can be things, 100 Years of Art and Freedom too, even plants or animals, as in Castaneda. Fictional or real, animate or inanimate, one has to have one’s intercessors. La création, c’est les intercesseurs. Sans eux il n’y a pas d’œuvre. Ça peut être des gens — pour un philosophe, des artistes ou des savants, pour un savant, des philosophes ou des artistes — mais aussi des choses, Pia MYrvoLD des plantes, des animaux même, comme dans Castaneda. Fictifs ou réels, Venice Biennale 2013 animés ou inanimés, il faut fabriquer ses intercesseurs. Gilles Deleuze Miguel Chevalier ORLAN − 100 Years of Art and Freedom Anne Senstad PIKSEL Remote HackLab Curator: Roberta Semeraro Texts: Christine Buci-Glucksmann, Celina Jeffery, Ryan Jordan, Jonathan Kemp, Philippe Piguet, David Rosenberg, Kjetil Røed, Roberta Semeraro The Metamorphoses of the Virtual 100 Years of Art and Freedom The Metamorphoses of the Virtual 100 Years of Art and Freedom 27 May —> 31 October 2013 Pia MYrvoLD + invited artists Miguel Chevalier ORLAN Anne Senstad Piksel Remote HackLab Curator Roberta Semeraro Texts Christine Buci-Glucksmann Celina Jeffery Ryan Jordan Jonathan Kemp Philippe Piguet David Rosenberg Kjetil Røed Roberta Semeraro Officina delle Zattere Fondamenta Nani 947, Dorsoduro Venezia / Italia www.officinadellezattere.com [email protected] www.mov-artist.com © Pia MYrvoLD/ MYworLD Studios, Paris, 2013 and also artists, authors, photographers and graphic designers Metamorphoses of Virtual Reality Metamorfosi del virtuale Hundred Years of Art and Freedom 100 anni di arte e libertà Roberta Semeraro Roberta Semeraro In 1955 Italian-American artist L’artista italo americano Marino Marino Auriti named “Encyclopedic Auriti nel 1955 chiamò “Palazzo Palace” his imaginary museum, which Enciclopedico” il suo museo would hold all human knowledge. immaginario che avrebbe dovuto Art is a portal of privilege racchiudere tutto lo scibile umano. to deep knowledge of being E partendo dal dato di fatto che and its infinite expressions. l’arte è una via d’accesso privile- The exhibition “100 years of Art giata alla conoscenza più profonda and Freedom”, in harmony with dell’essere e delle sue infinite the 55th Venice Art Biennale, manifestazioni, la mostra “100 anni reveals through the work of four di arte e libertà” s’inserisce nel internationally acclaimed artists, contesto della 55 Biennale the possible ways of knowledge dell’Arte di Venezia, rivelando explored by art in the new attraverso il lavoro di quattro Millennium. artisti di fama internazionale, quali Pia MYrvoLD, ORLAN, Anne sono le possibili forme di conoscenza Senstad and Miguel Chevalier nell’arte del nuovo millennio. investigate art by approaching Pia MYrvoLD, ORLAN, Anne different disciplines, such as Senstad e Miguel Chevalier svolgono medicine and biology, physics and le loro indagini artistiche nelle philosophy, science and technology, diverse discipline dalla medicina with an exceptional capacity alla biologia, dalla fisica alla in recognizing those stylistic filosofia, dalla scienza alla tecno- patterns able to entwine different logia, con un’eccezionale capacità spheres of knowledge. Each one di elaborare cifre stilistiche che of them expresses in their work mettono in connessione i differenti an equally rigorous and persistent ambiti del sapere. artistic research and a common Il comune denominatore del loro sacrifice of their private lives lavoro è il rigore che perseguono to fully commit themselves to making nella ricerca artistica e il sacri- art. The solid grounds on which ficio umano delle loro stesse their art is built are made esistenze interamente dedicate of freedom of thought and freedom all’arte. of expression, as only in a universe Le solide fondamenta della loro ruled by freedom there is hope arte sono la libertà di pensiero e for life. la libertà di espressione, perché In Hegel’s words, freedom solo in un universo dove regna is the unavoidable premise for libertà c’è ancora speranza di vita. any form of knowledge. Man is the Hegel affermava che la libertà optimal environment for the spirit è il presupposto imprescindibile (Geist) to reveal itself as absolute per qualsiasi forma di conoscenza. freedom. Man’s rational faculties L’uomo è il luogo privilegiato dove are the tools to his self-assertion si rivela lo Spirito (Geist) principio in this world, which is also an assoluto di libertà e le facoltà assertion of the Absolute itself. raziocinanti dell’uomo sono lo When in 1913 women’s suffrage strumento per la sua autoafferma- was granted for the first time zione nel mondo che è anche in Norway, marking a fundamental affermazione del principio assoluto. step in history for human rights, Un avvenimento fondamentale one of the highest moments of per i diritti umani, fu il suffragio self-assertion occurred. Years femminile concesso per la prima of extensive battles fought against volta nel 1913 in Norvegia che si the objectifying of the female body può considerare uno dei momenti di followed this first important più alta autoaffermazione che si goal achieved by Modern women. sia mai avuto nella storia. A questo In the art world, women like French importantissimo traguardo artist ORLAN gave in the late raggiunto dalle donne nell’epoca 5 ’60 precious contributions contemporanea, sono seguite negli the keyboard, the mouse and so on. dei più importanti teorici viventi to the cause, exposing themselves anni estenuanti battaglie contro la Norwegian Pia MYrvoLD puts dei new media, analizzando l’epoca in public by leading actions of mercificazione dei loro corpi. A tal technological interfaces to the digitale nella quale viviamo, social protest and thus, at times, proposito è doveroso ricordare il core of her artistic research sostiene che la tecnologia digitale enduring repercussions on their prezioso contributo dato dalle donne and thus puts herself in the center ha svincolato l’uomo dal sistema dei work. artiste intorno alla fine degli of the platform where man and mass media imposto dall’alto As proved by the Avant-garde anni’60 come la francese ORLAN, computer connect and exist offrendogli la possibilità di of the early 20th century, which che si sono “esposte” al pubblico in dialogue. Shapes and colors of interagire e lasciandolo libero di freed the arts from the previous facendosi carico di azioni di the artist’s imagery are nonetheless scegliere se accettare o meno una constraint of tradition, art can denuncia nei confronti della società those same shapes and colors determinata opzione. L’interazione be an exceptional catalyst of great e subendone talvolta delle conse- through which man projects himself con il sistema informatico avviene revolutions. The Modern movement, guenze persino nel loro lavoro. in the virtual space. MYrvoLD attraverso le cosiddette “interfacce which thrived in Paris between the Ma che l’arte sia un veicolo per le employs her creativity in varied utente” che non sono altro che la two world wars, began to acknow- grandi rivoluzioni, ne sono testi- spheres of visual communication grafica virtuale su uno schermo o le ledge technology as a paramount monianza le avanguardie artistiche such as architectual design, tastiere, i mouse, ecc. resource when making art. che a partire dal primo ventennio interface design, fashion, music, Gran parte della ricerca artistica In the ’50s, Canadian sociologist del ’900 hanno liberato l’arte e in performance, video, photography, della norvegese Pia MYrvoLD verte Marshal McLuhan published his generale la cultura dagli schemi painting and sculpture. Therefore, attorno alle interfacce tecnolo- essay “Understanding Media”, where tradizionali dei secoli precedenti. she fulfills the political and giche. L’artista si pone così al he analyzed the effects of the new Con il Movimento Moderno nato a social role which art carries out centro del rapporto uomo/macchina ways of communication on society, cavallo tra le due guerre e diffusosi by prompting one to achieve a deep e sulla piattaforma dove avviene il concluding that the medium soprattutto a Parigi, si cominciò a knowledge of our world and to dialogo tra loro. is also the message. ORLAN wrote considerare la tecnologia come un experience a reality in continuous Le forme e i colori dell’imaginerie the manifesto of “Carnal Art” enorme potenziale da applicare ai transformation. dell’artista non sono altro che — she considers her body as her diversi settori dell’arte. In his house in Tepostlan, le forme e i colori con i quali l’uomo personal software and by performing Intorno agli anni’50 il sociologo French-Mexican artist Miguel si proietta nello spazio virtuale. her own plastic surgery she canadese Marshall McLuhan nel suo Chevalier met Luis Bunuel, living La MYrvoLD applica la sua permanently regains her identity saggio “Understanding Media” in Mexico as a political refugee, creatività a diversi aspetti della and claims consistency between analizzando gli effetti dei nuovi and watched “Le Chien Andalou”, comunicazione visiva quali form and content. Likewise she mezzi di comunicazione sulla a film that clearly influenced l’interior design, l’interface design, solves both the aesthetic research società, aveva affermato che il his artistic choices; Chevalier uses la moda, la musica, la danza, il in art and the existential dilemma medium è il messaggio. ORLAN digital technology, a tool fit video, la fotografia, la pittura, of being and appearing ultimately che ha scritto il manifesto della to express symbolism and surrealism. la scultura. L’artista assolve così confronting the concept of beauty “Carnal Art” considera il proprio A digital system is de facto made al ruolo politico e sociale che l’arte itself. corpo il proprio software, of numbers and measures reality ha assunto nei confronti della The debate begun by McLuhan riappropriandosi definitivamente under a mathematical and società, che è quello di sensibiliz- in the ’50s on the sociological della propria identità e riven- quantitative point of view.
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