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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Exhibitions Artists Ten News Contact. I associate the grayscale with mental space and color with the physical world. In these recent works, you are dealing with an inner shift of material and movement in viewpoints and eye-level. Politics is a latent presence in your work but not in a didactic way.

I grew up with social realist propaganda and had developed a mistrust of it. As you mentioned, the drawings describe movement through a set of shifting perspectives. I like your comparison of the body penetrating space by walking and sculptures penetrating space as they are being made. And also an attempt to look closely and pay attention. You removed the black square from the white canvas, and not only that, but you turned its space inside out.

I like to imagine a farintti where new subjectivities are possible and it allows for difference; difference in seeing, looking at things, and being seen. And I found this relationship, me and this older Russian man, funny. I was attracted to it aesthetically because it was totally unfamiliar to me then. And how bodies and sculptures interact with space.

File:Pino – Wikimedia Commons

However, I see my work more opposing the utopian universalism that Suprematism proposed. His revolutionary gesture took the shape of a minimal black square, an icon that resisted the traditional image making. I wanted the interior and exterior of this space to coexist on the same plane. The movement in my work, whether it is tangible or not, is a form of restless engagement with materials, ideas, and the environment.


In she realized Arte contemporanea: Movement naturally deals with change; as you move your perspective changes.

File:Pino Farinotti.jpg

A place that can be conceptualized or imagined but not experienced; a place that cannot be. I remember this piece, Encounter in placefromwhere you were going around your neighborhood in Chicago and taking pictures through a piece of punctured paper.

In the work that you produced for Negative Capability which you will show at Regards in Chicago, you conceptually and visually developed a new dimension or a third space. I gave it dimension and stretched it into the room, and its space became architectural. And that does more justice to the complexities that I experience as an Iranian female artist living in the U.

These unstable places allow things to develop outside of their constructed binaries. It seems to me you found new dimensions in these works. In the last years she curated various exhibitions on young Italian artists.

I also noticed that in these recent works you moved towards using color, how did you choose the colors and how did they farinootti the work? This coincidence inspired us to continue our conversation over the next few months. This reminds me of the performance you did with your sculptures at the park during your residency at the Arts Incubator.

In the recent drawings, your approach to creating multi-dimensional spaces is similar to the wall sculptures. Also, the negative spaces are crucial. To open up a conversation that can fluctuate between political and existential, personal and universal. Thinking about utopia and what it means, its contradictory nature attracted me. You literally cut into the piece and showed us what is inside.

Did you know where you wanted to arrive?

How did you start with the first piece? I was working with spaces that negate themselves. I was excited to imagine what Malevich could have seen happening in there.


IL FARINOTTI 2018. DIZIONARIO DI TUTTI I FILM pdf, Pino e Rossella Farinotti –

I describe it as a space that opens up a conversation about our distinctly different personal, political, and historical experiences. This movement literally and conceptually opens up space for experimentation. Your approach fafinotti not only aesthetic or ephemeral, it actually becomes ll real reflection on time and space.

I want to create different kinds of spaces in the piece. But from the beginning I started building up the surface. What was it that interested you, and why Black Square? Maybe dimensions that are architectural.

Rossella Farinotti interview with Nazafarin Lotfi – Regards

Nazafarin was inspired by his writings and how he simplified ideas, energies, and forces into shapes and colors. Yes, a third space or a hybrid space that is not simply material nor mental. Can you talk about it? 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.

I think placing myself between two very different aesthetics and ideologies allows me to create a more complicated personal language. Since she lives and works between Milan and Chicago. In all the work and its movement there is an attempt to discover something new in unexpected places.

I knew part of me was rebelling against a patriarchal figure in my art life. Rossella Farinotti is a contemporary art critic, curator and writer. She is the co-author of the film encyclopedia il Farinotti ; contributor to publications and magazines such as Zero.

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