INSPIRATION IS ALL AROUND US : NEWS FROM THE VIDEO DESIGNERS PROJECTS

Alla domanda “chi è un designer?” Bruno Munari rispondeva “è un progettista dotato di senso estetico che lavora per la società.”
Nel suo libro “Da cosa nasce cosa”, del 1981, includeva nell’ambito di indagine del DESIGN le seguenti materie:

CINEMA E TELEVISIONE
Titolazione di programmi televisivi.
Titolazione di film.
Effetti speciali.
Testi, grafici, diagrammi in movimento per film tecnici.
Animazioni di immagini.
Uso della luce polarizzata.
Uso del sintetizzatore.
Forme e colori endogeni.
Montaggi speciali.uno spettacolo di luce per un concerto.
Luci stroboscopiche per una discoteca.
Lampada da casa con usi diversi.
Illuminazione per una vetrina.

quindi, parafrasando:

Chi è un VIDEOdesigner?
E’ un VIDEOprogettista dotato di senso estetico che lavora per la società.

Di cosa si occupa il VIDEOdesigner?
Si occupa della creazione e l’integrazione di film, video e grafiche animate nei campi dell’ arte, televisione, teatro, opera, danza, sfilate di moda, concerti e altri eventi dal vivo, dell’arredo e dell’architettura.

A seconda della produzione, un VIDEOdesigner può operare e assumersi la responsabilità di una o tutte le seguenti materie:

1.La progettazione concettuale globale dei contenuti video da inserire nel pezzo, anche lavorando con gli altri membri del team di produzione per garantire che il contenuto del video è integrato con le altre aree del design.
2. La creazione di questo contenuto video utilizzando  riprese video, Animazione 2D e 3D, motion graphics, stop motion, illustrazione o qualsiasi altro metodo.
3. La direzione, l’illuminazione e la fotografia del filmato da realizzare.
4. La scelta della tecnologia più adatta a visualizzare i contenuti video, compresa l’indicazione dei video proiettori, degli schermi LED, dei sistemi di controllo, cablaggio, e posizionamento.
5. La gestione del budget assegnato al video, tra cui l’acquisto di tecnologie di visualizzazione e di tecnologie di controllo, la loro consegna, manutenzione e assicurazione.
6. Il coordinamento di tutte le figure professionali, tecniche e creative, che intervengono nel processo creativo.

il VIDEOdesigner opera un continuo crossover con i campi dell’arte, della grafica, della pittura, del cinema, della recitazione, della fotografica, della scenotecnica, della illuminotecnica.

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PHILIPPE DAVERIO / Luce come materia attraverso la storia dell’arte

https://vimeo.com/48649831

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VIDEO DESIGNER / VIDEO ARTIST : PIPILLOTTI RIST

Nouvel, Rist, Westermann: l’architetto, l’artista, lo chef. Appuntamento all’ultimo piano di una obliqua torre viennese di recentissima fabbricazione. Mentre sotto scorre il Donaukanal. L’edificio? Più che di caratteristiche funzionali, si può parlare di un laboratorio sperimentale di arti applicate. E in effetti…


Brilla di luce propria il coloratissimo “affresco” di 1.000 mq – sì, mille – sul soffitto del ristorante austro-francofono Le Loft, all’ultimo piano dell’ultimo edificio d’autore inaugurato a Vienna, ad alcune centinaia di metri dalla cattedrale gotica di Santo Stefano. Gastronomia francese, naturalmente. E poiché lo spazio è circoscritto in trasparentissime, invisibili o quasi, pareti di vetro, il risultato è che la visionaria impronta creativa dell’artista svizzera Pipilotti Rist sia riconoscibile anche giù dalla strada o da più lontano. In verità, a mettere sulle tracce di Pipilotti anche i più distratti, sono in primo luogo le sue immense immagini che campeggiano in tutta evidenza su un paio di soffitti a livelli più terreni.
C’è trasparenza e trasparenza. Quella creata dall’architetto Jean Nouvel per il loft è davvero super, soprattutto se il punto d’osservazione si posiziona al suo interno, ovvero a 70 metri di quota. Qualche morso di vertigine datelo per scontato stando in cima alla Nouvel-Tower, che per di più è leggermente inclinata sul lato ovest.
Libertà in e sopra di noi. Questo il titolo-tema su cui Pipilotti Rist ha lavorato per la torre di Nouvel, tre “affreschi” per un totale di 1.800 mq.

Oltre a quello dell’ultimo piano, ce n’è uno posizionato a pianterreno, pensilina d’accesso e soffitto della lobby dell’hotel che vi ha sede; un altro decora il soffitto di uno strano ambiente, un volume sottovetro denominato Wintergarten, una serra, stando al nome, incuneata vistosamente come una zeppa pneumatica quasi a mezz’altezza dell’edificio: un vuoto che pare sospendere la forza di gravità. Nulla di strano se poi le immagini di Pipilotti si configurano come allegorie sulla leggerezza dell’essere. Ribaltamenti di prospettiva, accostamenti ironici, rapporti di scala sproporzionati, ipercromatismi. È la sua versione di un mondo naturalistico – un bosco, un mare… con i loro elementi – che, invece di restare schiacciato sotto i piedi, è sospeso poeticamente in aria sopra di noi come in un sogno lieve e libertario.
Sono immagini fotografiche ottenute attraverso forti ingrandimenti riportati su pannelli di una speciale tela retroilluminata e con l’inserimento di alcuni schermi video a led dalla forma pressoché circolare. Per dimensione e per resa ottica, le installazioni hanno comportato l’utilizzo di soluzioni tecnologiche molto complesse, condotte da decine di specialisti.
Il legame tra le arti è la prerogativa essenziale della Nouvel-Tower, a cominciare dalla sua stessa fisicità e plasticità tra architettura e scultura. Al suo interno accoglie principalmente un centro commerciale interamente dedicato al design e, come detto, un hotel, un Luxury Sofitel a denominazione Stephansdom più che garantita, anch’esso non senza richiamo all’arte.
All’allestimento decorativo delle sue 182 stanze e suite, ad esempio, hanno lavorato Alain Bony e Henri Laboile, due artisti francesi in collaborazione con studenti dell’Università delle Arti Applicate di Vienna. Il loro intervento è ovunque appena percettibile: si tratta di disegni minuti sulle pareti, di tracce isolate, consone alla raffinata connotazione minimalista delle unità abitative sviluppate singolarmente su rigide monocromie del bianco, del grigio, del nero. Le stesse tonalità incolori che in ambiti più accessibili al pubblico si accompagnano a elementi trasparenti e a superfici specchianti.

A eccezione delle grandi installazioni di Pipilotti Rist, l’insieme architettonico ha di per sé un’impronta rigorosa, priva di colore, quasi inespressiva e persino sfuggevole, alla quale Nouvel associa insistentemente l’idea di un “presque rien”, un quasi-niente. Pur tuttavia, la distribuzione degli spazi interni, in orizzontale come in verticale, si de-struttura in una complicata moltiplicazione di piani, di sbalzi, di grandi vuoti, di linee prospettiche fuori asse, di incastri, di riflessi e di rispecchiamenti.
Presque rien, una locuzione non banale e sicuramente non casuale, questa, per mezzo della quale si entra immediatamente nell’ordine del discorso di talune riflessioni di Vladimir Jankélévitch, filosofo francese d’ispirazione bergsoniana. Riflessioni sulla enigmaticità, ineffabilità delle cose, mai conoscibili nella loro pienezza e complessità, accessibili solo all’intuizione e solo in maniera fugace. Come dire, un presque rien. L’impianto progettuale di Nouvel è, a suo modo, allusivo.

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TONY OURSLER early videomapping works 2005

TONY OURSLER small sculpture videomapping 2005_1 TONY OURSLER small sculpture videomapping 2005_2 TONY OURSLER small sculpture videomapping 2005_3

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VIDEO DESIGNER / VIDEO ARTIST : MEMO ATKEN

LS:  How do you think of your next personal project, once you complete one?
MA: Actually I don’t think of new projects after I finish an old one. Instead new ideas keep accumulating while I’m working on other projects. Whenever I’m sitting on the bus, or train, or lying in bed etc. I’m always thinking about them, rolling the ideas around in my head and developing them, taking notes (lots and lots and lots of notes). At the moment, I have about 14 project ideas which are quite concrete and almost ready to start building (if I could find the time and money) – these range from small demos to large scale installations or performances – and another 50 which are more rough concepts and the ideas still need a bit of developing. So I spend almost every free minute thinking about these, whether I already have another project on or not.
LS: Wow. Do you look at the technology and then conceive something based on where the technology takes you? Or do you think of something you’d like to do, and then use technology to realize the vision?
MA: Generally it’s a bit of both. Often I’ll just think, “I want to be able to do …” or “I want to see …”. Then it’s a case of figuring out how to make that possible. My education is in engineering, which is basically problem solving. So I treat developing projects as a series of problems that need solving. I have a goal I want to reach, I break it down into lots of little steps, and solve them one by one. If you were to ask what is it that inspires the goal, it can be anything.  It can be a conversation with someone, it can be a scene in a movie, or a cartoon, or a line in a book, a song etc. – but it can also be a technology demo. So in that sense sometimes the technology does inspire the idea.

LS: Unlike a lot of artists whose goal is to shock and make the public ill at ease, you seem to prefer a soft way of addressing them, they have to “feel at home”. Why? Do you believe they will appreciate more your work?
MA: The answer to this is because I’m quite selfish 
When I’m making things I don’t really think of the public. I’m thinking of myself, and what I would like to see, or what I would like to play with; not what would the public like to see or play with. I’m lucky in that it seems some of the things I like, have a wide appeal.
LS: Tell us how you make your art – how you use the medium of the computer. Do you have a background in computer science?
MA: I don’t have a background in computer science. I have a BSc in Civil Engineering – though I haven’t done a days work as a Civil Engineer. I received a computer as a young kid (BBC Model B when I was around 10) and have been programming since then. Nowadays the majority of my work creation is through computer programming, I write custom software to make the things that I want (visuals or sound or music etc.). I also use traditional 2d/3d/music software like AfterEffects, Cinema4D, Ableton Live etc.


LS: Do you program projects yourself? Do you hire others to work with you?
MA: Usually I do a lot of the programming, but it really varies. Smaller projects (e.g. Body Paint, Reincarnation, Webcam Piano etc.) are personal projects where I’m the only guy – artist and programmer. Other times I work with other designers or animators, sometimes I’m hired by others to help realize their vision (e.g. Science Museum ‘Who am I’), sometimes I’m hired by others to add my vision to theirs (e.g. Depeche mode ‘fragile tension’) and other times I hire others (e.g. Blaze). In all those projects I was still the only guy writing code. Then there are larger projects where I bring in extra coders as well as designers and animators too (e.g. Google Chrome interactive building projections, Samsung interactive building projections). I have a team of friends and regular freelancers I work with to deal with some of the large commercial projects.


LS: Your commercial work is amazing; many software artists can only dream of getting to work on such large-scale projects. How do you find commercial gigs? Do you have an agent? If it’s through your professional network, how did you begin to develop this network?
MA: I don’t have an agent, at least a human one. The Internet seems to be my agent these days. Seriously though, I don’t do any advertising, marketing, PR, business development etc. other than posting what I’m doing online, on my blog, Vimeo, Flickr and Twitter.
LS: Did you have a lucky break at some point along the way, and if so, what was it?
MA: I think I can say it was when I started a blog and opened a Vimeo account. The very first thing I posted on Vimeo was a little experiment in audio-reactive mesh deforming shaders called Amoeba Dance. A few days later I saw it on http://createdigitalmotion.com/ (a great blog about moving images). I have no idea how/where they discovered my experiment, must be the Vimeo tags. After that I got offered a few interesting jobs, and it’s been building since then.
LS: What are you up to next?
MA: Right now I’m focused on pushing personal projects forward. So I’m writing lots of proposals and getting mockups, visualizations, concept sketches etc. done.
LS: For you, what is the next step in technology?
MA: Since I was quite young I can remember conversations with friends about being frustrated in not being able to realize and produce in the real world, whatever it was we saw or heard in our heads. (This inability came from both financial difficulty – i.e. not being able to afford the hardware / software required for it – and technical difficulty- not being able to use the tools sufficiently well enough to realize what we wanted). We joked about a future where we could just plug a jack directly into our brain, extract whatever is in there, and dump it onto a DVD or CD to play to other people.
The works that I mostly enjoy and like are those which aren’t entirely concept driven but combine concept with craft. So I actually dread the day when the technology we were joking about as kids, becomes a reality. Today there already is working research in that field, basic EEG sensors that can ‘read your mind’ do exist, and even though they are very very very very very far from what I’m talking about, they can detect certain basic thoughts (with a bit of luck). It’s really primitive right now, and I don’t see it happening in the near future, but I think ultimately that’s the future of human-computer interaction.
LS: You seem to want to demonstrate that technology can rhyme with poetry and sensibility, is this a personal goal and why?
MA: There are two components to my answer. Firstly, to me “Technology” doesn’t mean much. Anything that doesn’t grow on trees is technology. Whenever I give talks, I always mention this and use the piano as an example. It is an amazing piece of technology, a great feat of engineering. But when someone plays the Moonlight Sonata on the piano we don’t say “wow they made something so poetic with technology”, we just appreciate the piece. We don’t look at the keys triggering the hammers hitting away at the strings, or the whole keyboard and mechanism shifting when the soft pedal is pressed – because we’ve seen it before, because now it’s *old* technology, it just isn’t impressive anymore. Any technology we are impressed by today, will become commonplace tomorrow.
Secondly, when I think of things that really get me going, what I love the most, I find it is generally music, or films. These are the mediums which make my hair stand on end, give me goose bumps, make me giggle or cry – and that’s where my tagline comes from: “I like to touch people, and make them giggle or cry”. That’s what I like, and so what I choose to do. I don’t set myself a goal of using technology. I’ve had a computer since I was about 10 years old, and that’s when I started programming. Since then every ‘technological’ development I’ve been through or learnt I don’t classify as ‘technological’, I classify as just ‘normal’. Going back to the Moonlight Sonata example above, the tech inside a piano is amazing, but that isn’t what the piece is about. All those technological gadgets are simply tools in helping the composer and performer deliver what they want to deliver.
I am not an inventor or designer, my goal is not to create useful things that people can use, my goal is just to touch people.
LS: If we visualize Body Paint on your website, it says, “Performed by the public”? What is the role of the public? Do you considered them as co-authors of your work?
MA: Maybe a subtle difference – I wouldn’t call it “co-author”, but would instead use the word “collaborator”. Going back to the piano analogy above, interactive installations like Body Paint I consider to be instruments. I designed and created the instrument. That is my work, it is just the instrument. Then I set it loose and the public play with my instrument – what they create with it is entirely their creation. You could argue of course that what is created at the end is a collaboration between I – the instrument designer, and the public – the instrument performer. That is true, however I don’t actually care what they create, I only care what they feel. With a project like Body Paint I’m not focusing on creating a painting application, and allowing people to create the paintings they want to create. Going back to the piano analogy, that would be analogous to focusing on the composition that is formed once you have finished playing the piano. However I’d like to focus on the feeling you get while playing the piano. It doesn’t matter if you’re not playing it very well and you’re making mistakes, what matters is you’re lost in that world, and at that moment every note you play is just perfect.
LS: Who else is out there doing things you admire with technology and art?
MA: There are two aspects to this question. In the field of *art where technology is the focus*, I really dig the work being produced right now by people like Julian Oliver, Cory Arcangel, Fat Lab / GRL, Daito Manabe, Zach Lieberman, Kyle McDonald. If I think less focus on technology, but more as a visual artist (who happens to develop technology) – which is where I see myself more – my inspirations are many: Quayola, Field, Flat-e, Found Collective, 1024 architecture, Anti-VJ, Robert Hodgin, AbstractBirds and also really inspired by the openFrameworks, Cinder, Processing, Quartz Composer, VVVV, hacker / maker communities as well as the demoscene. Within moments of browsing Vimeo & Flickr you’ll come across really amazing works by people all over the world.

Interacting with “Webcam Piano”
LS: When you say you “use the body to perform images and sound”, do you take inspiration on contemporary dance like Pietragalla’s “body theatre”?
MA: A lot of my projects involve the using the body to perform images and sound concept, and I know with 100% certainty where the inspiration for this comes from: it starts with the early Tom and Jerry cartoons (1940’s-60’s). Most people think I’m joking when I say this, but I’m not. I used to spend hours every day as a young child watching the same episodes over and over again on VHS and every moment of those episodes are imprinted in my brain. The synchronization between the animation and the soundtrack is so incredibly tight, for every little muscle twitch there is an amazing accompanying musical phrase with a connection so flawless, that you usually don’t even consciously hear all of the music or instruments or notes; they just blend in and subconsciously complete the scene. The episodes were so rich in over-the-top full-body movements, but most importantly: it wasn’t dance. Up until that point (starting at age 3 or 4, up till about 10 or 11), I had seen traditional dance shows, where music was composed, and then movements were choreographed to the music. In these cases you could somehow feel that the music came first, and the movements were just following the music.
Also the movements were not very normal, they weren’t movements that I might do on a daily basis while going about my routine. In Tom & Jerry, of course there were traditionally scored compositions (famously using compositions by Liszt, Chopin etc.), but a lot of the time the animation came first, and music was composed to follow the movements, and you could feel that.  So Tom & Jerry was my first exposure to what appeared to be body movements creating music.
In those days we used to go to a lot of west-end shows as well (e.g. I have early memories of seeing ‘Cats’ – pardon the pun), and in those shows parts of the music was also composed to follow the choreography – or at least it was a much more iterative process of fine tuning choreography to music and vice-versa, but still I recall that they never reached the tight connection I felt in the T&J cartoons, it was only T&J which made me feel like the movement creating music.
Danny Kaye further enforced this idea. Also recorded on VHS and I watched continuously on loop as a kid, was Danny Kaye’s comedic performance conducting the New York Philharmonic Orchestra in “An evening with Danny Kaye”. As a 6-year-old child I probably wouldn’t have been too interested in watching a conductor conduct an orchestra, but Danny Kaye made it a joy to watch, and I did, many many times. Orchestra conductors are still to this day a huge influence on me, it all started with Danny Kaye, and that further drilled in the concept of body movements creating music.
Final inspiration imprinted in my brain from an early age comes from Disney’s Fantasia (1940) and MGM’s Blue Danube (1939), again on constant loop on VHS as a toddler to pre-teens. Especially if I try to think back to my earliest memories, I can see the demon in the Fantasia adaptation of Mussorgsky’s “Night on Bald Mountain”, conducting shadows, smoke and fire with his hands. When you look at my work now, I’m sure you’ll see the close resemblance – if not aesthetically, definitely conceptually. In fact when I first created “Reincarnation” someone suggested Bill Viola as an obvious influence. Actually it was purely Fantasia’s Night on Bald Mountain. Still when my mind goes blank for whatever reason, I remember and think of scenes from all of the above, what I watched over three decades ago.
LS: If you could do a collaboration with any one individual right now, who would it be and why?
MA: Tough one. I’m really really into physics. One of my most enjoyable projects was “Cosmic Sensation”, working with former CERN physics professor Sijbrand de Jong in visualizing cosmic rays, particles travelling from other galaxies at close to the speed of light. This stuff – quantum physics, cosmology, chaos theory etc. really excites me, and I’m almost desperate to create projects that incites this fascination in other people. I find it mind-boggling that the atoms that make up my body, was created in the heart of a star as a result of nuclear fusion. Or if you shoot particles (e.g. photons, electrons, protons etc) through a pair of narrow slits, you get an interference pattern, as if they can cancel each other out like waves! Or if you shoot a single particle through a pair of narrow slits you still get the interference pattern! (See: the double-slit experiment). There are so many phenomena in science that I find just amazingly exciting and I would love to work with more science labs and institutions to create projects which would hopefully make the science-fearing audience equally excited.
Oh, and also Lady Gaga.

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THE FAKE FACTORY – VIDEO DESIGN & CONTEMPORARY MEDIA ART – 2011>2013

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GUESS SHOP WINDOW – LONDON DESIGN WEEK

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CENTRO COOP SESTO FIORENTINO

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STEFANO FAKE (THE FAKE FACTORY.COM)

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ADELE STAGE DESIGN

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BEIJING WONDERFUL HARMONY CONCERT

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STEVEN SCOTT

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VIDEO ART IN THE DIGITAL ERA

The glorious invention of digital editing software and plasma flat screen monitors in the 1990s injected new life into Video Art, a previously anemic and fringe visual culture format that had always struggled to compete with Painting, Photography, and Film, its more alluring cousins. Though a few artists working with clunky, low-res televisions and analog recording technologies managed to contribute memorable masterpieces to the canon of contemporary art (Peter Campus and Nam June Paik are the obvious examples), these works belie the fact that early Video Art was challenging for viewers even when the most ‘advanced’ technologies were exploited. Prone to tape deterioration caused by mechanical friction, difficult to calibrate across environments, limited by awkward cabling and mounting structures, and subject to the basic constraints of simplistic image capture and weak audio fidelity, Video Art languished as the foster-child of the fine arts, largely ignored by major museums and provided shelter mostly by visionary yet funding-challenged new media galleries.
The medium’s Hogwarts moment roughly coincided with the turn of the century and the arrival and mass-commercialization of high-definition flat screen televisions. Corresponding developments in digital editing software like After Effects and the Adobe Creative Suite programs unleashed new video editing, animation and visual effects powers previously accessible only to corporate, big-budget, Hollywood-style production studios. All of a sudden it became possible for artists working alone in their studios with non-existent budgets to render broadcast-quality Video Art. The only limitations were the bounds of the artists’ imaginations. The revolution would be televised after all.

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STEFANO FAKE  & THE FAKE FACTORY (Italy)

THE FAKE FACTORY IS A STUDIO SPECIALIZING IN VIDEO DESIGN ESTABLISHED IN FLORENCE IN 2001 BY THE ARTIST AND VIDEO DESIGNER STEFANO FAKE, TOGETHER WITH A GROUP OF TALENTED ITALIAN VIDEOGRAPHERS AND VISUALMAKERS.

THE FAKE FACTORY DEALS WITH LINGUISTIC EXPERIMENTATION RELATED TO THE NEW MEDIA AND IS NOW AN ITALIAN AND INTERNATIONAL REFERENCE FOT THE CONTEMPORARY RESEARCH ON VIDEO DESIGN.

THE FAKE FACTORY TOOK PART IN THE CARRYING OUT OF SEVERAL HUNDREDS OF VIDEO DESIGN PROJECT: LUMINOUS, ARCHITECTURAL INSTALLATION, VIDEO AND TV PRODUCTION, VIDEOINSTALLATIONS, VIDEO STAGE DESIGNS AND FOR FASHION SHOWS, VISUAL SETTINGS FOR MUSEUMS, GALLERIES AND CULTURAL EVENTS, PRODUCTION OF MULTISENSORY DVD, VIDEOART WORKS.

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VIDEO ART IN THE DIGITAL ERA

The glorious invention of digital editing software and plasma flat screen monitors in the 1990s injected new life into Video Art, a previously anemic and fringe visual culture format that had always struggled to compete with Painting, Photography, and Film, its more alluring cousins. Though a few artists working with clunky, low-res televisions and analog recording technologies managed to contribute memorable masterpieces to the canon of contemporary art (Peter Campus and Nam June Paik are the obvious examples), these works belie the fact that early Video Art was challenging for viewers even when the most ‘advanced’ technologies were exploited. Prone to tape deterioration caused by mechanical friction, difficult to calibrate across environments, limited by awkward cabling and mounting structures, and subject to the basic constraints of simplistic image capture and weak audio fidelity, Video Art languished as the foster-child of the fine arts, largely ignored by major museums and provided shelter mostly by visionary yet funding-challenged new media galleries.
The medium’s Hogwarts moment roughly coincided with the turn of the century and the arrival and mass-commercialization of high-definition flat screen televisions. Corresponding developments in digital editing software like After Effects and the Adobe Creative Suite programs unleashed new video editing, animation and visual effects powers previously accessible only to corporate, big-budget, Hollywood-style production studios. All of a sudden it became possible for artists working alone in their studios with non-existent budgets to render broadcast-quality Video Art. The only limitations were the bounds of the artists’ imaginations. The revolution would be televised after all.

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STEFANO FAKE – THE FAKE FACTORY (Italy)

THE FAKE FACTORY IS A STUDIO SPECIALIZING IN VIDEO DESIGN ESTABLISHED IN FLORENCE IN 2001 BY THE ARTIST AND VIDEO DESIGNER STEFANO FAKE, TOGETHER WITH A GROUP OF YOUNG TALENTED VIDEOGRAPHERS AND VISUALMAKERS.

THE FAKE FACTORY DEALS WITH LINGUISTIC EXPERIMENTATION RELATED TO THE NEW MEDIA AND IS NOW AN ITALIAN AND INTERNATIONAL REFERENCE FOT THE CONTEMPORARY RESEARCH ON VIDEO DESIGN.

THE FAKE FACTORY TOOK PART IN THE CARRYING OUT OF SEVERAL HUNDREDS OF VIDEO DESIGN PROJECT: LUMINOUS, ARCHITECTURAL INSTALLATION, VIDEO AND TV PRODUCTION, VIDEOINSTALLATIONS, VIDEO STAGE DESIGNS AND FOR FASHION SHOWS, VISUAL SETTINGS FOR MUSEUMS, GALLERIES AND CULTURAL EVENTS, PRODUCTION OF MULTISENSORY DVD, VIDEOART WORKS.

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Jeremy Blake is one of the first american fine artists to successfully harness the seductive power of digital video editing software and high-definition monitors. Hanging plasma screens along gallery walls like so many canvases as early as 1998, Blake attracted attention for the manner in which he animated sequences of semi-abstract washes of colour to create digital videos that appeared to be living, breathing, moving paintings. His enchanting and innovative new media works exploring issues of violence, history, decadence, and fear, were included in important museum exhibitions like the Whitney Biennial (three times), incorporated into music videos for pop stars (like Beck), and used as emotional counterpoints in critically relevant cinema (as seen repeatedly in P.T. Anderson’s brilliant “Punch Drunk Love”). Tragically, in what was coined “The Golden Suicides” by Vanity Fair, Blake and his filmmaker girlfriend of twelve-years, Theresa Duncan, both killed themselves, one week apart, in the summer of 2007. Only 35 years old when he was last seen alive, naked and swimming out into the Atlantic Ocean from the shores of Rockaway Beach, Long Island, Blake had barely begun to scratch at the surface of an art form he helped yank into cultural relevance.
Mr. Blake began to make a name for himself in the late 1990’s with digital projections that combined colorful abstract geometric forms with photographic images — poolside cabanas, Modernist interiors, patio lights, skylines — that suggested scenes from movies. Some art critics described the work as Color Field paintings set in motion. He called much of his work “time-based paintings,” and wrote that he drew his subject matter from a fascination with “half-remembered and imaginary architecture” and images borrowed from “Hollywood’s psychic dustbin.”

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Yorgo Alexopoulos

Yorgo Alexopoulos is a New York-based artist best known for his innovative use of new media and technology in the contemporary art and film industries. He is a graduate of The School of the Art Institute of Chicago where he studied filmmaking and new media. His first solo exhibition was in 2001 at the Bronwyn Keenan Gallery in New York City. Since then he has exhibited throughout the United States and most recently at the Torrance Museum of Art in the fall of 2010. Since 2006 he has produced experiential video installations and content for the Guggenheim Museum including Rob Pruitt’s Art Awards in 2009 and 2010. His artistic approach is visibly informed by techniques fine-tuned early in his career as both a well-known graffiti artist during his youth in Los Angeles and as a visual effects artist and animator in the New York City motion graphics industry in the late 1990’s. During this period he worked on several highly acclaimed films as a visual effects supervisor including The Kid Stays in the Picture, The Trials of Darryl Hunt, Joan Rivers; A Piece of Work, and The Devil Came on Horseback. These films were official selections at the Sundance Film Festival. His computer-animated videos and digital artworks explore transcendental sensibilities and often blend Western and Eastern philosophical themes. Yorgo’s work proposes and constantly reinvents a visual vocabulary influenced by astronomical images, religious iconography, scientific diagrams, and mythological symbolism.

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VIDEO ART / HOTEL, RESTAURANT and LOUNGE AREAS

https://vimeo.com/73129691

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Il termine greco hybris indica tracotanza, un eccesso di superbia compiuto contro le stesse leggi che governano il mondo. Un peccato che si incarna nelle azioni compiute dal singolo uomo che disprezza i propri limiti e se ne fa gioco, noncurante della vendetta divina che si scatenerà su di lui e la sua stirpe.
Partendo da questa prospettiva, Peter Greenaway ha individuato in un elemento architettonico come la torre – simbolo maschile di potenza ‘fallica’ e di elevazione, l’ambito della sua ricerca artistica a Lucca. The Towers/Lucca Hubris è un’indagine storica condotta in 14 episodi, 14 storie ambientate in una Lucca medievale e raccontate con suoni, parole ed immagini. Sia ben chiaro, non siamo al cinema, ma in una delle tante splendide piazze di Lucca, e la luce sparata da due potenti videoproiettori colpisce il marmo bianco facendolo brillare. Tutt’intorno un pubblico variopinto, un pubblico allargato rispetto ai confini tradizionali dell’arte. Non solo appassionati di cinema, videoarte e performance, ma anche vecchi e bambini, turisti e cittadini. C’è chi cammina per scoprire nuovi punti di vista, chi sta seduto a pochi metri dalla chiesa in cerca di un qualche “abbaglio”. Chi parla e commenta, esaltato, rammaricato, colpito nell’orgoglio.

peter-greenway001 peter-greenway008 peter-greenway031 peter_greenway034-586x439 peter-greenway005 peter-greenway008

Tutto questo non è cinema, è qualcosa di più e qualcosa di meno. Storie a volte solo accennate, appena evocate, che sembrano essere rimaste addormentate sotto la coltre di polvere della città dalle cento chiese. Perché sono storie scabrose, storie di pazzi e di nudità, non solo corporee, ma soprattutto nudità d’animo, d’intenti. Storie di peccati mortali che abitano in molte città, ma che colpiscono ancor più a fondo Lucca, la città della gentilezza, del garbo e dell’ossequiosa devozione cristiana.
C’è l’amore incestuoso della Contessa Verrachi per il fratello, che la costrinse a murarsi viva nella Torre Nera.
C’è la storia di un marito, Leone Morgantini, che costruì per la moglie troppo ambiziosa e spendacciona una torre poco resistente, sperando che crollasse.

Sono immagini che Greenaway ha girato nello spazio SPAM di Lammari, con i performer di Aldes di Roberto Castello (autore delle coreografie) utilizzando videocamere 5K, montandole alla ’sua maniera’, intervallate nei livelli del compositing (la stratificazione) a disegni, schizzi, calligrafia e animazioni tridimensionali.
Il risultato è sicuramente barocco, ‘ingombrante’, ma allo stesso tempo ricco di suggestioni. Greenaway non vuole soltanto raccontare delle storie, ma soprattutto scardinare le meccaniche della visione, a partire dalla cornice, lo schermo di proiezione.
Proprio contro le dinamiche dello show business, la staticità della visione ‘monosensoriale’ delle sale cinematografiche, si scaglia Greenaway nella sua lectio magistralis presso l’Auditorium della Banca del Monte di Lucca. Oggi infatti, con uno smartphone ed un computer portatile, tutti sono potenzialmente dei registi e possono produrre materiale di alta qualità. Il problema, secondo il maestro di Newport, è che l’industria cinematografica esiste per ‘fare soldi’ e non per ‘fare cinema’. Da qui nasce la mancanza di energia, la scomparsa della sperimentazione nel cinema mondiale, che si affida allo storytelling lineare in nome di un’episodica sicurezza economica. Da qui nasce la necessità di Greenaway di rivolgersi a gallerie, musei e fondazioni, per potersi esprimere e lavorare.

E i lucchesi che ne pensano dell’opera di Greenaway? Proprio un concittadino, Nicola Borrelli (ideatore del del Lucca Film Festival) è stato tra gli organizzatori del progetto, prodotto da Change Performing Arts Milano e sostenuto dalla Fondazione Cassa di Risparmio di Lucca.

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The videoartist Stefano Fake and the videodesigners of The Fake Factory created a unique 3D videomapping artwork during the FIRENZE4EVER Closing Dinner Party.

FIRENZE4EVER ETHNO-MORPHIC celebrates broken boundaries and global tribes in fashion, music and culture. As a city with a uniquely multicultural history and the cradle of modern civilization, Florence is the perfect setting to explore a new fashion vision as imagined by bloggers from the four corners of the globe.

On January 6th the FIRENZE4EVER Closing Dinner Party was held in the 350-year-old Pergola Theatre, one of the oldest and most beautiful theatres in Europe.

THE FAKE FACTORY : “ETHNO-MORPIC” IMMERSIVRE 3D VIDEOMAPPING EXPERIENCE
a unique masterpiece of new media art.

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KYOTA TAKAHASHI

NEOREAL A source of visual inspiration – Canon digital imaging

COLOR ARCHITECTURE

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PIPILLOTTI RIST

MOMA NEW YORK 2008

https://vimeo.com/90402542

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LIVE TRANSMISSION- Joy Division Reworked

(Sydney Opera House, Vivid LIVE 2013)

https://vimeo.com/90452326

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