Massimo Carozzi/Zimmerfrei (IT)
Safari, Sound Performance
Live and set
2.11 > 23.12.2016
with: Eva & Franco Mattes, Anna Franceschini e Diego Marcon, Teresa Cos, Francesco Fonassi
curated by Martina Angelotti
set up by: Parasite2.0
Continuing its research - which involves different fields as cinema, visual and performing arts - Careof, for the end of 2016, launches CINEMODERNO, a project that alternates live performance to temporary set where images, sounds and actions interact to each others.
CINEMODERNO hour by hour, and for the duration of 6 weeks, investigates the relationship between the moving image and performance.
In fact, from the 2nd of November until the 23rd of December - with a prologue at the end of October - a scheduling alternates four live sessions, each action gives in return its four different set for 10 days. The artists invited make socio-political considerations/reflections through sound and moving image, they explore the evolution of communication systems and the job issue in the Internet and accelerationism era, contemplating the cinema format as an immersive experience between reality and imaginary.
CINEMODERNO is also composed with some architectural structures thought for the live sessions and realized by the Parasite 2.0, a collective which have recently won the YAP 2016 prize of the MAXXI Museum in Rome.
CINEMODERNO consists of 1 Prologue, 4 Live and 4 outputs set. The whole event looks at how the artists invited express tensions and reflections through a device suspended between bidimension and tridimension.
In this configuration CINEMODERNO occurs in two different levels: a performative dimension that lasts the time of an evening, and a second dimension - a direct outcome - that leaves a mark in the space. A splinter preserved in the mind in the form of memory or imagination.
CINEMODERNO #1: For Internet Use Only - Eva & Franco Mattes
CINEMODERNO #2 - Splendore, Live set audiovisivo, Anna Fraceschini e Diego Marcon
CINEMODERNO #3, Si sa che le pecore non sono carnivore , Teresa Cos
Cinemoderno#4 - "Ultradiana_IV", 3 hours sound performance, Francesco Fonassi
Massimo Carozzi / ZimmerFrei (IT)
Safari, Sound Performance
A selection and an assemblage of materials coming from the archives of field recordings collected by ZimmerFrei around Europe and US. between 2005 and 2016. It is about “phonographies”, stored sound images, time fragments forever pressed on a frame, which are mixed and diffused in real time, in a concert form.
Eva & Franco Mattes (GB / US)
For Internet Use Only
For CINEMODERNO Eva & Franco Mattes have proposed a new experimental project that connect private and public dimension at the same time. For Internet Use Only is a live performance in which the artists share their computer desktop with anyone in the audience. From their studio in New York the artists' computer desktop is live streamed to Care/of in Milan, where it's projected on a wall of vertical desks, while the audience is watching, awkwardly chilling out on Yoga mats. The artists keep working on their computer, like they always do, as if nothing special is happening. They will probably check their email and surf the web, maybe watch some videos, edit texts and photos, log in their social media accounts and buy things online. We expect this unscripted and unedited approach to be filled with excitement, boredom and hopefully more than a few transcendent moments. Based on two of their seminal works, Life Sharing (2000) and The Others (2011), the piece is a playful, yet scary, take on data oversharing, exhibitionism and voyeurism.
Anna Franceschini & Diego Marcon (IT)
Audiovisual live set
voice: Anna Mostosi
For the second issue of CINEMODERNO Anna Franceschini and Diego Marcon propose Splendore, a audiovisual live show, mediated by film camera devices and with audio amplification. Through the appropriation of occasional ideas, Splendore shows itself, its light and its darkness, its sound and its silence. The stagecraft, gaunt and rudimentary, is put on display. The stage runs under the fingers, which are the real stagehands that make and unmake the scene, however they can not stop the fall.
Teresa Cos (IT / BE)
Si sa che le pecore non sono carnivore
Sonic reading inside the film Eight Chapters in Four Movements by Teresa Cos.
Freely adapted from the first chapter of Crowds and Power by Elias Canetti.
Live sound: Teresa Cos
Live reading: Mela Boev
During the screening of the film Eight Chapters in Four Movements, where the video footage of her rush hour walking performance over London Bridge is showed uncut and accompanied by reiterating beats and keywords from Henri Lefebvre’s Rhythmanalisis, Teresa Cos will perform an emotional re-reading of the work, intervening live on the original soundtrack with a new sound composition that will intertwine with the words of Canetti, as read through a conference call with Mela Boev.
Fonassi Francesco (IT)
3 hours sound performance
Ultradiana was born as a series of magnetic tape recordings which collect vocal, improvisational materials carried out into Villa Borghese parking lot in Rome, projected by architect Luigi Moretti in 1966. Thanks to its configuration and the conformation of its domes, the natural acoustic effect of the place sounds in a peculiar and polyrithmical way giving to the performers a sonic structure to dialoge with. These materials are subjected to electronic treatments and are reproduced during series of extended, live executions where different settings and sound figures are presented depending by place and context. Originally conceived as a twelve hour act, for Cinemoderno Ultradiana is presented in a reduced form of three hours live-act, to remain in the spaces of Careof during the following days as a residual listening sculpture. Ultradiana opens up a coral and ritual conditioning space: through the voice it takes back in an alterated state of consciousness which question on the evolutive, linguistic function of the sonic space.
Visual artist, sound recordist, sound designer and musician based in Bologna, Italy. Engaged in exploring the
connections between sound and image, sound and stage, sound and literature, sound and space, he created sound
design for theatre, documentaries, short films, installations. In September 2000, he co-founded the art collective
ZimmerFrei with Anna Rispoli and Anna De Manincor. ZimmerfFrei artistic practice ranges from video art to
documentary films, sound and environmental installations, as well as photography, performances, workshops and
public art projects. As a musician he took part in various projects, such as El Muniria (an investigation of the
boundaries between word and sound alongside italian poet and writer Emidio Clementi), Weight And Treble (an
electronic music project poised between club culture and avant-garde, alongside Susanna La Polla and Manuele
Giannini), Auna (a research project including various italian and international sound artists). He also collaborated both
in studio and on stage with various musicians and sound artists such as Andrea Belfi, Stefano Pilia, Margareth
Kammerer, Valerio Tricoli, Claudio Rocchetti, Luciano Maggiore, Sinistri, 3/4HadBeenEliminated, Starfuckers.
As a sound recordist he developed a particular interest in phonography, the art of storing fragments of time, forever
engraving them on a sound frame. A collection of his field recordings titled Punti Sulla Curva vol. I and II has been
recently published on a two volumes limited edition tape by Second Sleep.
Eva and Franco Mattes
Eva and Franco Mattes (1976) are an artist duo originally from Italy, working in New York.
Their medium is a combination of Internet, video and installation. Their work explores the ethical and moral issues arising when people interact remotely, especially through social media, creating situations where it is difficult to distinguish reality from a simulation. Writer Randall Packer wrote: "Eva and Franco Mattes, enfant terribles of Net Art and now godparents of the digital natives (they set the stage for the erosion of privacy long before the emergence of social media), have been exposing all aspects of the digital life – the embarrassing, the narcissistic, the fearless, the gross, the voyeuristic, the insipid, the heartless, and the just plain stupid – revealing the underbelly of our hyper-connected lives". Group exhibition highlights include Biennale of Sydney (2016); Whitechapel Gallery, London (2016); Hammer Museum, Los Angeles (2016); Minneapolis Institute of Arts (2013); Site Santa Fe (2012); Sundance Film Festival (2012); MoMA PS1, New York (2009); Performa, New York (2009, 2007); National Art Museum of China, Beijing (2008); The New Museum, New York (2005) and Manifesta 4, Frankfurt (2002). In 2001 they were among the youngest artists ever included in the Venice Biennale. Solo exhibition venues include Essex Flowers, New York; Postmasters Gallery, New York; Carroll/Fletcher, London; Site, Sheffield; PNCA, Portland; Plugin, Basel. They have given lectures at universities, museums and festivals. They are founders and co-directors of the international festival The Influencers, held annually at the CCCB, Barcelona, Spain (2004-ongoing). They are faculty members at the MFA Fine Arts Department and the MFA Photography, Video and Related Media Department of the School of Visual Arts, New York. The Mattes have received grants from the Walker Art Center, Minneapolis; The Museum of Contemporary Art, Roskilde; ICC, Tokyo, and were awarded the New York Prize 2006 from the Italian Academy at Columbia University. In 2016, they were recipients of the Creative Capital Award.
Links to many of Mattes' projects can be found at their web site
Anna Franceschini (Pavia 1979) studied in Milan where she received a MA in Media Studies and a post- graduate grant in History and Critics of Italian Cinema at IULM University. Her work has been presented and awarded in several film festivals among which are the IFFR / Rotterdam Film Festival (NL), 60th Locarno Film Festival (CH), TFF / Turin Film Festival (IT) and MFF / Milan Film Festival (IT).She took part in group exhibitions including: Villa Croce, Genoa (IT); MACRO, Rome (IT); Matadero, Madrid (SP); Museo Nitsch, Naples (IT); PAC: Padiglione Arte Contemporanea, Milan (IT); THE GREEN PARROT, Barcelona (SP); MARCO, Vigo (SP); MAxxI, Rome (IT); Nomas Foundation, Rome (IT); Fondazione Sandretto Re Rebaudengo, Turin (IT); Futura, Prague (Cz); Villa Medici, Rome (IT). Solo exhibitions include: Palazzo delle Esposizioni, Rome (IT); Kunsthalle São Paulo (BR); GAM, Turin (IT); Museoin, Bolzano (IT); Fiorucci Art Trust, London (UK); Kunsteverein Duesseldorf (DE); Spike Island, Bristol (UK); Vistamare / Benedetta Spalletti, Pescara (IT); Peep Hole, Milan (IT); Bielefelder Kunstverein (DE); Kiosk Gallery, Ghent (BE); Objectif – Exhibition, Antwerp (BE); Fondazione Bevilacqua la Masa, Venice (IT). In 2011 her work was awarded with a mention of Honor at Ariane de Rothschild Prize – Milan (IT), and she is the winner of Fondazione Casoli Prize 2012 – Fabriano (IT), New York Prize 2012 (Ministry of Foreign Affairs – IT) and Terna Prize (IT). She has been a resident artist at the Rijksakademie van beeldende kunsten – Amsterdam (NL), VIR / Viafarini In Residence – Milan (IT), ISCP program in New York (US) in 2013 and at the MACRO Museum in Rome (IT) in 2014.
Diego Marcon is born in Busto Arsizio (Varese) in 1985. In 2006 he graduated in film editing at the Scuola Civica di Cinema, Televisione e Nuovi Media di Milano and in 2012 he got the BA Degree in Visual Arts at the IUAV University of Venice. In 2009 he participated to the Advanced Course in Visual Arts of the Fondazione Antonio Ratti and took part to the residence program provided by the Dena Foundation for Contemporary Art in Paris. For the 2010 he was a studio recipient at the Fondazione Bevilaqua La Masa in Venice. In 2013 he is artist in residence at Centre international d’art ed du paysage in Vassivière and partecipated in a residency program by the Istitut Français at Cité Internationale des Arts in Paris. In 2015 he is invited to partecipate to Performing Archive Residency in Careof, Milano. His works have been screened in film festivals both in Italy and abroad and have been show in international spaces and institutions like Whitechapel Gallery (London, UK), Fondation d’entreprise Ricard (Paris, France), De Vleeshal (Middelburg, The Netherlands), Centre international d’art et du paysage (Vassivière, France) NAi - National Architecture Institute (Rotterdam, The Netherlands), Artspace (Auckland, New Zeland), MATADERO (Madrid, Spain), Fondazione Sandretto Re Rebaudengo (Torino, Italy), Museo Villa Croce (Genova, Italy), PAC – Padiglione Arte Contemporanea (Milano, Italy), MACRO and Palazzo delle Esposizioni (Roma, Italy), and spaces such as Fiorucci Art Trust (London, UK), Peep-Hole, Gasconade, Careof (Milano, Italy), Portmanteau/Jeudi (Geneve, Switzerland), ODD (Bucarest, Romania).
Teresa Cos investigates the human condition, understood as the endless negotiation between individual subjectivities and global societies, embedded conditions of birth and shifting nomadic becomings. Through still and moving images, sound and music, diagrams and scores, she exposes a sort of absurd dynamic stagnation (loop), generated by the “always different, always the same” repetition of everyday rituals and the mesmeric reiteration of socio-political concepts. Recent and upcoming presentations of her work include the Venice 14th International Architecture Biennale, Drodesera XXXVI, Marres House of Contemporary Culture Maastricht, the Metropolitan Arts Center Belfast, Careof Milan. Cos has been a participant of the Jan Van Eyck Academie program and she is about to start a one year residency at WIELS Center for Contemporary Art in Brussels.
Francesco Fonassi’s work focuses on the dynamics of listening and on the mechanisms for auditory perception, investigating their limits and potential in intersubjective terms. The emission, displacement and degradation of sound environments interrupt and manipulate the timeline of the perceiving body. The deed of watching emerges out of blinding, whereby sculpture and installation become channels where the performative act unfolds in its various possibilities, opening a rift in the matter of duration. Fonassi's research moves from the line of games theory, history of strategy, physics and anthropology of acoustic.Beside this he's active on experimental music, video and writing, collaborating with artists in different fields.