news

next events

Dewey Dell

Grave BUDA kunstencentrumKortrijk, BelgioDebutto1 e 2 dicembre 2011
luogo durata
Presentations
01/12/2011
02/12/2011
progetti / selezionati
indietro

Luisa Cortesi
PER VEDERE



allegati

In collaboration with Massimo Barzagli

Per Vedere is a project composed of various performative, visual and expositive processes, both bi-dimensional and three-dimensional.
It's a polyptych about "the capacity of a vision to surprise" looking into the destructive power and the creative force, in relation to human capacity to alter nature and the natural course of events, so as to produce "an image that has never been seen before."
Examining the connection between the perception of an image in motion and the intervention on expectation of seeing a certain event, we achieve creation by using technical instruments and scientific applications.
Per Vedere analyses to what extent the philosophy of science, science and its doctorates shell be able, starting out from the idea, to support and to put into practice each of the planned works.

1- In "La visione bucolica" we'll work in close contact with the forest authorities and veterinary science. The representative results will be registered within the figurative, biological and representative categories.

2- "Della disgregazione geologica". In this case the close contact with scientific restoration and the Faculty of Mineralogy will allow us to construct and to deconstruct choreographic and sculptural works.

3- In "L'eskaton o il telos della visione" the language is "dermasyntactic" - the close relation with the philosophy of science and aesthetics will be laid out to profit in the synthesis of the proliferation of tactile vision or the touch of the vision, thus concerning the recolouring, the whitening, the halo and the traces of the shape of the vision.

4- In "Il precipizio dell'occhio" the optics and the kinetics will support our research regarding the possibility of almost tactile distancing and approaching of the body as a material.

5- "L'oggetto grave e l'assenza di gravità" takes into consideration the physics and the statics as regards the relation of a body among solid, gaseous, liquid and electrostatic bodies.

Each work combines the artistic disciplines: the body-material and the artist's materials, creating performative visions, and unfolds science as an instrument and a means of creation.

The show is taking place in the framework of the project "Focus on Art and Science in the Performing Arts" with the support of Culture Programme of the European Commission.


Action Figure

While time is flowing, a sculpture is to be shaped.
The sculpture is made and reveals itself to the eyes of the audience.
It's a choreographic and sculptoric act, in which the performing body is the active model for a work of art.
A spectacularization of the procedure of building will be staged: by action and motion, strenght and resistance, the body becomes in contact with sculptorial matter.
The choreographic action does not relate to the static form of sculptorial pose but only focuses on the dynamic contact and the interaction chances with the matter.

Action Figure
monumental sculpture
from "Per Vedere "
installations by Massimo Barzagli
Performance: Luisa Cortesi
At work: Prisco Di Pietro, Marcello Goracci, Amrit Pal Singh, Harpreet Singh, , Leonardo Zullo
Production e Realization : Marcello Goracci Terrecotte S.Rocco.
The artwork will be realized with argilla "Terra Fina" from  Tre Berte cave and shaped with chalk R41 from Lago D'Iseo

ESKATON o il telos della visione

performance



"Approaching" epistemologically means to separate thought from reality.
In a "close up" knowledge, reality loses somehow its solidity, its constancy, its substance; and shape and thought end up in the same nothingness.
When we are as close as possible, only seeing through touch remains possible.
Eskaton focuses on the concepts of nearness and distance, analysing them first in sculpture and in painting, than in relation with performance and with the ability of seeing, the ability of staying in contact with the details of the whole vision.
The dancer's body becomes body of the opus: relations between anatomy and painting and then between anatomy and dance are here enphasised. Painting draws what has been already marked by anatomy, dance underlines the anatomy of the body in its unceasing effort to move and close in with the eyes of the beholders.
A way to experiment changes of perception on the feeling of distance and nearness.


Eskaton
by and with: Luisa Cortesi
in collaboration with: Massimo Barzagli


luisacortesi@hotmail.com