paesaggi New York (43°46'57'' N 11°17'14'' E) 2012
The landscapes’ portraits in this series of photographs were taken from our studio in Florence.
They are live images taken from web-cams positioned all around the world and then shared on the Internet.
The technique used is the one of the stenopeic hole which allows the light of these landscapes, filtered from the web, to imprint itself on graphic paper without mediation.
The technological capabilities eliminates the need to stand directly in front of the subjects and allows, looking east from Florence, to take a picture at New York.
We think that the act of will that leads to share a landscape on the network is a gesture of self-representation that manifests through landscape a contemporary identitiy.
The project intends to show, rifigurate, claim the authorship of a landscape not only having art as the priority (need), but also as a principle of collective community recognition that the community itself perceives and decides to communicate.
As Alain Roger says the landscape does not exist. Or at least it doesn’t until someone explicitly defines it, making it picture, manifest in a dialectical union between signifier and signified. Up to that time there are only countries.
It 's a process of cultural recognition, the Artialisation that the artist "invents" it charging that dynamic union between human and space of a value which is almost always deeply existential .Every age has created its landscapes transferring its own ideas in the ever-changing relationship with places. Light, shapes and colours become syntactic tools that articulate new meanings. Our age is no exception to this continuity.
The story of the landscape in this context is an act of will, the desire to create desc<x>riptions of what we are here and now through the space that we live, showing others what we see from our window.
Today, as Luisa Bonesio thinks, the recognition of a landscape has a profoundly social value and man still expresses , determining a landscape, the will of territorialising, to mark the cultural affiliation to a specific place through cultural gestures.
As for the Stimmung of romantic landscape, today a harmonic tune with the space we live in still exists, more and more full of social values that can’t transcend from the concept of community. The existence of a global community that collects and shares webcams around the world and creates the potential for making significant pictures is a contemporary phenomenon that requires rethinking the language we have used until now to create
or show landscapes.
Re thinking at the fact that it arises from both the decision to show that what we see from our window reveals a willingness to communicate our own existence, and also because this communication uses space paradigms that were not possible before the advent of the web.
We can potentially tell anyone what our landscape looks like, we can do this even with those who are listening, but can’t see; and then we do it by showing its movement and the endemic transformation to which we are getting used to thanks to the ideas on contemporary landscape .
All together the images that come to us from the web-cams are a kind of unconscious and almost automatic attempt to build a landscape that, observed from a distance, becomes a significant image of the world we are living.
Our decision is to square this image of the world so that we can represent an existential value in which we think to be fully involved.
The light you see is the one of the screen, the image belongs to who has decided to communicate it, the landscape is global. Our act of will is to gather these fragments and make them become a contemporary landscape.
We decided to collect them first hand, slowly with stenopeic exposures; the sensitive sheets absorb the light of the world mediated by technology allowing that the passage of these places creates a track which is shape and movement.
They are live images taken from web-cams positioned all around the world and then shared on the Internet.
The technique used is the one of the stenopeic hole which allows the light of these landscapes, filtered from the web, to imprint itself on graphic paper without mediation.
The technological capabilities eliminates the need to stand directly in front of the subjects and allows, looking east from Florence, to take a picture at New York.
We think that the act of will that leads to share a landscape on the network is a gesture of self-representation that manifests through landscape a contemporary identitiy.
The project intends to show, rifigurate, claim the authorship of a landscape not only having art as the priority (need), but also as a principle of collective community recognition that the community itself perceives and decides to communicate.
As Alain Roger says the landscape does not exist. Or at least it doesn’t until someone explicitly defines it, making it picture, manifest in a dialectical union between signifier and signified. Up to that time there are only countries.
It 's a process of cultural recognition, the Artialisation that the artist "invents" it charging that dynamic union between human and space of a value which is almost always deeply existential .Every age has created its landscapes transferring its own ideas in the ever-changing relationship with places. Light, shapes and colours become syntactic tools that articulate new meanings. Our age is no exception to this continuity.
The story of the landscape in this context is an act of will, the desire to create desc<x>riptions of what we are here and now through the space that we live, showing others what we see from our window.
Today, as Luisa Bonesio thinks, the recognition of a landscape has a profoundly social value and man still expresses , determining a landscape, the will of territorialising, to mark the cultural affiliation to a specific place through cultural gestures.
As for the Stimmung of romantic landscape, today a harmonic tune with the space we live in still exists, more and more full of social values that can’t transcend from the concept of community. The existence of a global community that collects and shares webcams around the world and creates the potential for making significant pictures is a contemporary phenomenon that requires rethinking the language we have used until now to create
or show landscapes.
Re thinking at the fact that it arises from both the decision to show that what we see from our window reveals a willingness to communicate our own existence, and also because this communication uses space paradigms that were not possible before the advent of the web.
We can potentially tell anyone what our landscape looks like, we can do this even with those who are listening, but can’t see; and then we do it by showing its movement and the endemic transformation to which we are getting used to thanks to the ideas on contemporary landscape .
All together the images that come to us from the web-cams are a kind of unconscious and almost automatic attempt to build a landscape that, observed from a distance, becomes a significant image of the world we are living.
Our decision is to square this image of the world so that we can represent an existential value in which we think to be fully involved.
The light you see is the one of the screen, the image belongs to who has decided to communicate it, the landscape is global. Our act of will is to gather these fragments and make them become a contemporary landscape.
We decided to collect them first hand, slowly with stenopeic exposures; the sensitive sheets absorb the light of the world mediated by technology allowing that the passage of these places creates a track which is shape and movement.
Comments 0
Say something