2016 la freccia che colpisce il bersaglio vola per sempre Video

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La Freccia che
Colpisce il Bersaglio
Vola per Sempre

[Video]

The title The arrow that strikes the target flies forever refers to two videos – one of which is a loop – both based on a sculpture of the same title[read more=”Read More”less=”Read Less”] by Ferruccio Ascari from 2007, made of four pieces of white terracotta.
Each piece is composed of a series of concentric truncated cones, of diminishing diameter, nested inside each other. The concentric circles, sloping inward, attract the gaze, sucking it towards an infinitesimal inner point, an imaginary vanishing point in which the gaze penetrates, giving rise to a visual vortex. The gaze is comparable to an arrow that encounters no obstacles and thus flies, as the title suggests, forever, infinitely. A gaze without an object, that vanishes into a void in many ways comparable to the condition reached in a meditative mindstate. The soundtrack uses the sounds produced by striking each individual part of the sculpture.[/read]

La Freccia che Colpisce il Bersaglio Vola per Sempre, 2’22”, 2016 (teaser 0’34”)
La Freccia che Colpisce il Bersaglio Vola per Sempre, loop, 2016

2016 Muri

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Muri
[Video]

The video, like two others belonging to an earlier period – Promethèus and Artisti contro il nucleare (Artists against nuclear power) – conveys a strong political message,[read more=”Read More”less=”Read Less”]starting with the title that alludes to a precise phase of recent history: the one marked by the migratory movements of populations victimized by war or inhumane living conditions towards the European nations and elsewhere.
The wall is what separates, blocks the view of what happens every day in silence, in the midst a general lack of attention: deaths on the workplace, wretched lives, without the possibility of escape, that obscure the image of progress and efficiency of an era that is actually incapable of imagining and designing the future. The structure of the video itself, the purely visual plane, conveys these reflections: the obstacle to viewing is that of worksite barriers with holes at many points. Through each of these small openings one can glimpse for an instant a series of catastrophic events whose tragic impact, precisely through repetition, is canceled out, producing inurement instead of rebellion. An obsessive repetition that returns in the soundtrack that accompanies the video: a soundscape that evokes the construction site, the factory, the repetitive nature of industrial work.[/read]

Muri, 02’39”, 2016 (teaser 0’28”)

2016 Falso Allarme

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Falso
Allarme

[Video]

The video is a sort of camera obscura, where through a hole, which is simply our eye, a sequence of images unfolds at a dizzying pace.[read more=”Read More”less=”Read Less”]They are images captured in motion from the window of a speeding train – our life? – that catch only fragments of a view deprived of its completeness. The soundtrack, which as always in this cycle of videos by Ferruccio Ascari is not a secondary element, contributes to suggest the idea of a flight that seems to have no precise destination or aim. The only element shared by these flowing images is the speed with which they appear on our visual horizon and then vanish.[/read]

Falso Allarme, 02’43”, 2016 (teaser 0’33”)

2016 Non Ombra

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Non
Ombra

[Video]

Non Ombra (Not Shadow)
Intatto Fiore (Intact Flower)
Figurali attestazioni (Figural Testaments)
These three videos form a trilogy, in effect,[read more=”Read More”less=”Read Less”]marked by vivid shared elements in terms of formal choices and the presence of an inner, almost intimate tone that is utterly absent in the other videos that are part of Restlessmatter.net[/read]

Non Ombra, 03’40”, 2016 (teaser 1’06”)

2016 Intatto Fiore

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Intatto
Fiore

[Video]

Non Ombra (Not Shadow)
Intatto Fiore (Intact Flower)
Figurali attestazioni (Figural Testaments)
These three videos form a trilogy, in effect,[read more=”Read More”less=”Read Less”]marked by vivid shared elements in terms of formal choices and the presence of an inner, almost intimate tone that is utterly absent in the other videos that are part of Restlessmatter.net[/read]

Intatto Fiore, 02’46”, 2016 (teaser 0’44”)

2016 Figurali Attestazioni

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Figurali
Attestazioni

[Video]

Non Ombra (Not Shadow)
Intatto Fiore (Intact Flower)
Figurali attestazioni (Figural Testaments)
These three videos form a trilogy, in effect,[read more=”Read More”less=”Read Less”]marked by vivid shared elements in terms of formal choices and the presence of an inner, almost intimate tone that is utterly absent in the other videos that are part of Restlessmatter.net[/read]

Figurali Attestazioni, 04’07”, 2016 (teaser 0’39”)

2016 Opera ultima video

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Opera
Ultima

[Video]

The video takes its cue from an installation of the same name by Ferruccio Ascari from 2012, composed of multiple elements: a series of terracotta urns,[read more=”Read More”less=”Read Less”]different in size and form, containing remains that are hard to identify.
Perhaps bones of beings with an unspecified and unspecifiable nature. The urns were then sealed by the artist. Their content thus became secret, invisible, but before completing this operation and making them definitively inaccessible inside, photographs were taken: partial images, details of what the urn contains. Starting with these images, the viewer begins an imaginative path: a flow of mental associations that is an integral, essential part of this mysterious work that seems to harbor an initiatic meaning. The video made starting with this work is also a voyage, in effect. A voyage of a visual nature inside unspecified cavities, in a hypothetical underground, a deep repository that stores the remains of everything, where each item is subject to an incessant process of transformation and germination.[/read]

Opera Ultima, 04’30”, 2016 (teaser 01’01’)

2016 per metameria

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Metameria
[Video]

Per Metameria – like other videos at restlessmatter.net, the web project by Ferruccio Ascari – has been developed from a sculpture of the same name from 2006, composed of 23 pieces.[read more=”Read More”less=”Read Less”]
As for other works in this period, it belongs to a cycle of pieces that investigate the question of symmetry and its breakdown, the dialectic between order as a principle of stability and disorder as a generative factor. In the version from 2006 the various parts were placed on a plane, along a longitudinal access, in diminishing order, symmetrical with respect to a central element, in keeping with a rhythm of crescendo and diminuendo, as the artist described it, borrowing terms from the language of music. In the video this order is disrupted. The individual pieces are arranged in space without a preset rule, rocking in a sort of “perpetual motion” that is actually the outcome of the editing of the sequences (as revealed in the “related video” Per Metameria Backstage). The noises made by the friction of the pieces on the floor are assembled in the video’s soundtrack. The character of the sound comes from the material with which the pieces are made – iron – and from the varied resonance of each in relation to its form and size.[/read]

Per Metameria, 02’45”, 2016 (teaser 1’04”)

2016 Promethèus

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Promethèus
[Video]

The video can be seen as a development of Artisti contro il nucleare, made by Ferruccio Ascari at the time of the Referendum in 2011[read more=”Read More”less=”Read Less”]on the proposal to resume the production of nuclear power in Italy.
The visual material on which the artist draws is the same: an installation of slender figures made with metal wire, whose title – Sapiens – significantly alludes to the species to which they belong, its evolution, its achievements and the use that has been made of them over the course of history. An important feature of Prometheus is the soundtrack, Will be war soon?, a musical composition by Konstantin Trokay. The importance of the sound in this video is underlined by the darkness that accompanies many of the musical sequences: a darkness interrupted only by fleeting apparitions that seem to be the remains of a shattered world. The video, like the musical composition, raises questions about the future that may await us, and the use we human beings make of science and technology.[/read]

Promethèus, 04’55”, 2016 (teaser 0’33”)

2016 Falso Allarme

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Falso
Allarme

[Video]

Il video è una sorta di camera oscura, dove attraverso un foro, che altro non è se non il nostro occhio, una sequenza di immagini si susseguono a un ritmo vorticoso.[read more=”Read More”less=”Read Less”]Sono immagini colte al volo dal finestrino di un treno in corsa – la nostra vita? – che catturano solo frammenti di una visione che nella sua completezza è negata. La traccia sonora, che come sempre in questo ciclo di video di Ferruccio Ascari è elemento non secondario, contribuisce a suggerire l’idea di una fuga che sembra non avere una né una meta né una finalità precise. L’unico elemento che accomuna il flusso di queste immagini è la velocità con cui compaiono nel nostro orizzonte visivo per poi scomparire altrettanto rapidamente.[/read]

Falso Allarme, 02’43”, 2016 (teaser 0’33”)