Blast DANIELE PUPPI MAGAZZINO

Transcription

1 DANIELE PUPPI Blast

2 Daniele Puppi Blast 11 April 18 May 2013 Opening 11 April 19.00h Eleven years after Fatica #17, Magazzino is proud to present a new solo exhibition by Daniele Puppi in the gallery. Blast is the first occasion where Puppi presents, in a solo exhibition, the series of works re-animated Cinema a body of work, which the artist has been working on since 2011 and that has already been presented in numerous group exhibitions during In these minimal devices of multisensory reanimation, Puppi uses excerpts from original auteur films and B-movies, which he re-assembles by deconstructing and rewriting the image and editing, thus creating strongly emotional and spectacular projections. Using old editing monitors or hypertechnological sound screens, Puppi multiplies the point of origin of the cinematographic image, in a play of evidences and subtractions that redefine the original into something that is indefinable. The sound also becomes the object of a deep postproduction by the artist, through effects, amplifications and repetitions that highlight the role of sound as a physical presence in the space. A multiplication of the filmic and the sonic experience in which images and sounds, decomposed and projected, generate a totally new experience where the viewer is absorbed into an expanded cinema where the space of the projection becomes an essential part of the relation with the work. The exhibition will open Thursday 11 April and will stay open until 18 May Daniele Puppi was born in Pordenone 1970, lives and works in Rome. Puppi s work is inextricably linked to audio-visual installations, that have been shown in numerous personal and group exhibitions both in Italy and abroad. Among his solo exhibitions we can note GNAM Rome in 2010, Hangar Bicocca Milan in 2008, Melbourne Film Festival and Milton Keynes Gallery UK in 2005 and MART di Rovereto in Puppi s upcoming solo exhibition will take place in AEAF Australian Experimental Art Foundation in Adelaide, which will open in November Group exhibitions have included Human Connections - Digitalife, Ex-GIL Trastevere, MACRO Testaccio, Rome 2012; SPHERES 4 Galleria Continua Le Moulin, Boissy Le Chatel, France 2011; IL MUSEO PRIVATO. La passione per l arte contemporanea nelle collezioni bergamasche Gamec Bergamo 2011; 15 Quadriennale di Roma Palazzo delle Esposizioni, Rome 2008; Taking Time, M.A.R.C.O. Museum Vigo 2007; ITALY MADE IN ART: NOW, Museum of Contemporary Art Shanghai, China 2006; Tupper und video, Marta Herford, Germany 2006; Forse Italia, S.M.A.K - Stedelijk Museum Voor, Actuele Kunst. Gent 2003; EXIT, Fondazione Sandretto Re Rebaudengo Turin 2002.

3 REANIMATED IMAGE About Daniele Puppi s Blast By Bruno Di Marino Used to dealing with large dimensions, both real and virtual, spatial and projective, Daniele Puppi has decided to propose to the public for the first time two smaller works, defined by him as minimal devices of multisensory reanimation. His basic research remains the same, that is a reflection on how the image could be adapted to the space and, at the same time, how it could change it. In his series Fatiche, where the space was altered through expansion and explosion, which was achieved through a visual and sound relationship that impacted the viewer, literally overwhelmed and crushed by this device that is playing with spatial illusion, mixing both planes, two-dimensional and threedimensional. The illusion - has become today, in the era of digital mapping, exponential and tautological naturally playing an important role in the series Re-animated cinema, which Puppi began in In an installation such as L australieno (The Australian) - title-pun on the film from which it stems, The Shout [The Australian, 1978] by Jerzy Skolimowski - images reassembled by Puppi take the form of an immersive nineteenthcentury panorama or twentieth-century IMAX. An installation of a smaller size, but certainly not of lesser impact is What Goes Around Comes Around, a more contained installation of a kung-fu film with Bruce Lee and Chuck Norris Way of the Dragon,1972, where the two actors fight in the suggestive and anachronistic frame of the Colosseum. One particularity compared to the previous works is that Puppi adopts found images, according to an aesthetic widely used in the field of experimental video-film industry, the found-footage, or reusing of the repertoire. A second particularity is that the artist does not adapt the video projection to the existing architecture of the exhibition space, but models it, as in the re-animated cinema cycle on a screen subdivided by two speakers in the shape of white square surfaces in variable dimensions: a sort of "windows" - for more sound - which increase the crushing effect which is particularly relevant created by Puppi already in the compositing stage. If the installation of the series Re-animated cinema is based on the visual illusion created between image and support, in the minimal devices of multisensory reanimation the deception appears to be twofold, since the surface is not flat but composed of old control monitors, used in television studios in the early 1980s, however, used just like screens. The image we see - in one case it is a guinea pig subjected to an electric shock, the other of a varied sample of mostly vulvas in the foreground - is not produced by these devices, but is projected onto them, according to a principle of perfect alignment that creates a heightened three-dimensional effect, especially when it is invested with the video projection it is the whole package and not just the screen. All this provided that the viewer is positioned at the front, respecting the rules of perspective. The monitor, in this logic of inversion, becomes the receiver instead of the issuer. This reversal of monitor/screen or object/surface is rather significant to understanding the evolution of Puppi s aesthetic. To grasp his move from macro to micro, from device to devicespace-object; from a complex image, in its architectural decomposition, to a more compact image in its reduction to a minimal unity. The mouse is shattered and reassembled on the two monitors, we see it appear and disappear, change colour, become a skeleton, it becomes a metaphor of the image, an image that is to be dissected and reanimated. A body that the artist regenerates and brings it new life. The result is an abstract ballet and organic compound of meat flowers of various colour shades that bloom, vibrate, dilate, spill, break down and they join,

4 accompanied by shots of a firearm (a substitution of a photographic click - in English the root is the same: shoot = gunshot / shutter click). And it is this interruption, which unifies the two installations in the exhibition room reverberates with a scan of a pornographic serial (meat "flashed": in English it suggests the pun between "flash" and "flesh"), while the other is invaded acoustically and visually by the shock undergone by the mouse; flashing lights that go on and off in the adjoining room, thus creating a spatial appendix for the work. Both decontextualized, the images that make up the two minimal devices of multisensory reanimation are guinea pigs détournement, patients of a department of reanimation that Puppi materializes within the boundaries of contemporary art. On the one hand a "body without organs" - definition employed by Deleuze and Guattari in their Anti- Oedipus - on the other hand the "organs without the body", to paraphrase Zizek, used instead to emphasize the effect of fragmentation typical of the pornographic scenes, made of details, close-ups of cocks and cunts: a visual deconstruction that amplifies the Foucault sensation that an erotic act is like a production line.

5 El Topo (Minimal devices of multisensory reanimation), 2013 Audiovisual installation, 2 monitors, DLP projector, mixer, DVD player, electronic unit. Duration: 12 min Unique

6 El Topo (Minimal devices of multisensory reanimation), 2013

7 El Topo (Minimal devices of multisensory reanimation), 2013

8 El Topo (Minimal devices of multisensory reanimation), 2013

9 El Topo (Minimal devices of multisensory reanimation), 2013

10 El Topo (Minimal devices of multisensory reanimation), 2013

11 Flesh (Minimal devices of multisensory reanimation), 2013 Audiovisual installation, 2 monitors, DLP projector, mixer, DVD player. Duration: 4'30'' Unique

12 Flesh (Minimal devices of multisensory reanimation), 2013

13 Flesh (Minimal devices of multisensory reanimation), 2013

14 Flesh (Minimal devices of multisensory reanimation), 2013