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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Nazafarin was inspired by his writings and how he simplified ideas, energies, and forces into shapes and colors. This movement literally and conceptually opens up space for experimentation. These unstable places allow things to develop outside of their constructed binaries. 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 frainotti some sort.

This coincidence inspired us to continue our conversation over the next few months. I also want to bring up the title you chose for the show, Negative Capability. I was excited to imagine what Malevich could have seen happening faronotti there. Politics is a latent presence in your work but not in a didactic way. This reminds me of the performance you did with your sculptures at the park during your residency at the Arts Incubator. It seems to me you jl new dimensions in these works.

In the last years she curated various exhibitions on young Italian artists. In farinottti, she published il Quadro che visse due fxrinotti Milan: They overwhelmed the two-dimensional Black Squarewhich sort of represents a gate. A space that questions the common reductionism of this versus that. His revolutionary gesture took the shape of a minimal black square, an icon that resisted the traditional image making. A place that can be conceptualized or imagined but not experienced; a place that cannot be.

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But from the beginning I started building up the surface. You removed the black square from the white canvas, and not only that, but you turned its space inside out. Thinking about utopia farinotit what it means, its contradictory nature attracted me. Also opposing the universalism of the social realism that I grew up with.

I knew part of me was rebelling against a patriarchal figure in my art life. In all the work and its movement there is an attempt to discover something new in unexpected places.

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Rossella Fariontti is a contemporary art critic, curator and writer. Your drawings and sculptures are not abstract. Can you talk about it? I was working with spaces that negate themselves. How did you start with the first piece? I kept the dimensions of my piece the same as he had chosen.

And how bodies and sculptures interact with space. And also an attempt to look closely and pay attention. I gave it dimension and stretched it into the room, fafinotti its space became architectural. Thirty years after Malevich, Fontana also abandoned classical ideas of space and form, in a somewhat different way, by cutting through the canvas.

She is the co-author of the film encyclopedia il Farinotti ; contributor to publications and magazines such as Zero. The movement in my work, whether it is tangible or not, is a form of restless engagement with i, ideas, and the environment.


As you mentioned, this sounds like an attempt to ground myself in this new unfamiliar environment.

You literally cut into the piece and showed us what is inside. These ambiguous conditions are places where resistance, imagination, and rest are possible. I like your comparison of the body penetrating space by walking and sculptures penetrating space as they are being made.

Class (film)

Morellini Publishing, fairnotti, a book on the close relationship between art and film. From to she was the assistant of the Ministry of culture of Milan. I think placing myself between two very different aesthetics and ideologies allows me to create a more complicated personal language. What was it that interested you, and why Black Square?

Class (film) – Wikipedia

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. Maybe dimensions that are architectural.

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. Also, the negative spaces are crucial. I grew up with social realist propaganda and had developed a mistrust of it. Your approach is not only aesthetic or ephemeral, it actually becomes a real reflection on time and space.