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more... 03 rhythm is rhythm beyond the dance re-mix derrick may 89.mp3 
2009-01-31 - extension: mp3 - size: 7 MB
03 rhythm is rhythm beyond the dance re-mix derrick may 89
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EVERYWHERE NOWHERE BY MARCELLO MAZZELLA
EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no (More) EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no longer necessary. Marcello Mazzella does not need to situate his work in any place or gallery. As it's said in America, the works are "just a few clicks away." After a few elementary commands to a computer the works are immediately available to anybody - from the North Pole to Australia. The needed key on the Internet is the command http://www.marcello.mazzella.info Alas, let's not forget that the images suffer from the familiar limitations: a short wait, modest dimensions and definition dictated by the computer's screen or modem. It should be no surprise that large-format images--digital, first printed photographically, are far more gratifying to the eye. In the digital arena, manipulation and elaborations create "electronic meta-landscapes of human body fragment transformed in artificial paradises" says Mazzella. Nevertheless nature still dominates, luckily. In this pantheistic universe, human beings keep playing major roles. Marcello Mazzella is a multimedia artist. "Multimedia language is just at its beginning," is the opening line of an essay by the critic Tommaso Trini in a catalogue of Mazzella's work. For this writer, the term may have insulting undertones, as "an egg-making artist." Mazzella has a distinguished production: sculpture, photography, dance, theatre, video and digital works. Confusion of tongues? For the perplexed or confused, we suggest to question theoreticians such as Peter Weibel or Derrick De Kerckhove. Or to listen to the Italian singer Carmen Consoli belting "Confusa e Felice." Mazzella himself declares that "our daily reality is increasingly confused and difficult to understand. Where is the distinction between what is true or false?" Willingly, Mazzella displays constant contrast and unbalance between Natural and Artificial; always clashing and never reduced to coincide. Artificiality is stalked in order to exorcise it; nature is nostalgia of lost paradises that in our frenzied running we have passed and left behind. Duality is a life choice to face at every step. In various images, Mazzella repeats the theme of human skin, the one we love and caress. We long for "a natural skin covering material flesh." We may have anything in cyberspace. But not our own flesh. More often, it is a daily reality. Artificial bones in titanium or magnesium, mechanical hearts (already old), bio-engineering, clonations, implants and transplants. As a close friend of Mazzella, I never asked him what he thinks of William Gibson. And I have avoided to ask his opinion about a French woman artist who has repeatedly endured plastic surgeries with the result of increasing ugliness. Idle questions. In "Elicon Silicon", created in 1994 with Claudio Prati and the group "Avventure in Elicottero" with choreographer Ariella Vidach, sex and language are bypassed. Three women, looking like mannequins fly through metaphysical and artificial landscapes. Some messages inform us that "Women trapped in male bodies search for female companions." Among transgressions there are also androginy and transexuality. If one must/wants to abandon the physical body why not get rid of sexual gender altogether? Conversely, one thinks of the project by the photographers Inez Van Lamsweerde and Vinoodh Matidin, with the designer Veronique Leroy, seen in Artforum (February 1996). Extremely attractive young women, with very long limbs and faces, were simply too much to be real. Indeed, they were totally synthetic. Drawn by computer. From silicone enhanced beauties to silicium women. At least, the latter don't have to fear in-flight explosions as the one suffered by the enhancements of an Italian actress in an airplane. Few are the great artists who in this century have trespassed expressive forms and media should not be named in vain. They did it not for the sake of transgression or to overstep boundaries but because they needed a larger field of action, beyond the conventions of the past. Multimedia: Natura Non Fecit Saltus, we used to believe. Many confront contradictions in the same mined path chosen by Marcello Mazzella. Simulation, with its diabolical simulacra is at the center of his investigation. Another example is evident in some earlier work: odd-looking blots that, when seen in a cylindrical mirror reveal conventional images, the well-known anamorphic images. Soon, human beings will push to explore --at an ant's pace-- interplanetary spaces. The negation of the human body is the dream of mystics and hermits, who pursued only the affirmation of the spirit. Mazzella stresses that "the human body is no longer confined in a small, restricted space, but it has become a kind of 'planetary body,' with no more limits." With exemplary engagement, he keeps pushing forward. An example to follow... Gianfranco Mantegna New York City, 1998 (Less)
EVERYWHERE NOWHERE BY MARCELLO MAZZELLA
EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no (More) EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no longer necessary. Marcello Mazzella does not need to situate his work in any place or gallery. As it's said in America, the works are "just a few clicks away." After a few elementary commands to a computer the works are immediately available to anybody - from the North Pole to Australia. The needed key on the Internet is the command http://www.marcello.mazzella.info Alas, let's not forget that the images suffer from the familiar limitations: a short wait, modest dimensions and definition dictated by the computer's screen or modem. It should be no surprise that large-format images--digital, first printed photographically, are far more gratifying to the eye. In the digital arena, manipulation and elaborations create "electronic meta-landscapes of human body fragment transformed in artificial paradises" says Mazzella. Nevertheless nature still dominates, luckily. In this pantheistic universe, human beings keep playing major roles. Marcello Mazzella is a multimedia artist. "Multimedia language is just at its beginning," is the opening line of an essay by the critic Tommaso Trini in a catalogue of Mazzella's work. For this writer, the term may have insulting undertones, as "an egg-making artist." Mazzella has a distinguished production: sculpture, photography, dance, theatre, video and digital works. Confusion of tongues? For the perplexed or confused, we suggest to question theoreticians such as Peter Weibel or Derrick De Kerckhove. Or to listen to the Italian singer Carmen Consoli belting "Confusa e Felice." Mazzella himself declares that "our daily reality is increasingly confused and difficult to understand. Where is the distinction between what is true or false?" Willingly, Mazzella displays constant contrast and unbalance between Natural and Artificial; always clashing and never reduced to coincide. Artificiality is stalked in order to exorcise it; nature is nostalgia of lost paradises that in our frenzied running we have passed and left behind. Duality is a life choice to face at every step. In various images, Mazzella repeats the theme of human skin, the one we love and caress. We long for "a natural skin covering material flesh." We may have anything in cyberspace. But not our own flesh. More often, it is a daily reality. Artificial bones in titanium or magnesium, mechanical hearts (already old), bio-engineering, clonations, implants and transplants. As a close friend of Mazzella, I never asked him what he thinks of William Gibson. And I have avoided to ask his opinion about a French woman artist who has repeatedly endured plastic surgeries with the result of increasing ugliness. Idle questions. In "Elicon Silicon", created in 1994 with Claudio Prati and the group "Avventure in Elicottero" with choreographer Ariella Vidach, sex and language are bypassed. Three women, looking like mannequins fly through metaphysical and artificial landscapes. Some messages inform us that "Women trapped in male bodies search for female companions." Among transgressions there are also androginy and transexuality. If one must/wants to abandon the physical body why not get rid of sexual gender altogether? Conversely, one thinks of the project by the photographers Inez Van Lamsweerde and Vinoodh Matidin, with the designer Veronique Leroy, seen in Artforum (February 1996). Extremely attractive young women, with very long limbs and faces, were simply too much to be real. Indeed, they were totally synthetic. Drawn by computer. From silicone enhanced beauties to silicium women. At least, the latter don't have to fear in-flight explosions as the one suffered by the enhancements of an Italian actress in an airplane. Few are the great artists who in this century have trespassed expressive forms and media should not be named in vain. They did it not for the sake of transgression or to overstep boundaries but because they needed a larger field of action, beyond the conventions of the past. Multimedia: Natura Non Fecit Saltus, we used to believe. Many confront contradictions in the same mined path chosen by Marcello Mazzella. Simulation, with its diabolical simulacra is at the center of his investigation. Another example is evident in some earlier work: odd-looking blots that, when seen in a cylindrical mirror reveal conventional images, the well-known anamorphic images. Soon, human beings will push to explore --at an ant's pace-- interplanetary spaces. The negation of the human body is the dream of mystics and hermits, who pursued only the affirmation of the spirit. Mazzella stresses that "the human body is no longer confined in a small, restricted space, but it has become a kind of 'planetary body,' with no more limits." With exemplary engagement, he keeps pushing forward. An example to follow... Gianfranco Mantegna New York City, 1998 (Less)
EVERYWHERE NOWHERE BY MARCELLO MAZZELLA EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no (More) EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no longer necessary. Marcello Mazzella does not need to situate his work in any place or gallery. As it's said in America, the works are "just a few clicks away." After a few elementary commands to a computer the works are immediately available to anybody - from the North Pole to Australia. The needed key on the Internet is the command http://www.marcello.mazzella.info Alas, let's not forget that the images suffer from the familiar limitations: a short wait, modest dimensions and definition dictated by the computer's screen or modem. It should be no surprise that large-format images--digital, first printed photographically, are far more gratifying to the eye. In the digital arena, manipulation and elaborations create "electronic meta-landscapes of human body fragment transformed in artificial paradises" says Mazzella. Nevertheless nature still dominates, luckily. In this pantheistic universe, human beings keep playing major roles. Marcello Mazzella is a multimedia artist. "Multimedia language is just at its beginning," is the opening line of an essay by the critic Tommaso Trini in a catalogue of Mazzella's work. For this writer, the term may have insulting undertones, as "an egg-making artist." Mazzella has a distinguished production: sculpture, photography, dance, theatre, video and digital works. Confusion of tongues? For the perplexed or confused, we suggest to question theoreticians such as Peter Weibel or Derrick De Kerckhove. Or to listen to the Italian singer Carmen Consoli belting "Confusa e Felice." Mazzella himself declares that "our daily reality is increasingly confused and difficult to understand. Where is the distinction between what is true or false?" Willingly, Mazzella displays constant contrast and unbalance between Natural and Artificial; always clashing and never reduced to coincide. Artificiality is stalked in order to exorcise it; nature is nostalgia of lost paradises that in our frenzied running we have passed and left behind. Duality is a life choice to face at every step. In various images, Mazzella repeats the theme of human skin, the one we love and caress. We long for "a natural skin covering material flesh." We may have anything in cyberspace. But not our own flesh. More often, it is a daily reality. Artificial bones in titanium or magnesium, mechanical hearts (already old), bio-engineering, clonations, implants and transplants. As a close friend of Mazzella, I never asked him what he thinks of William Gibson. And I have avoided to ask his opinion about a French woman artist who has repeatedly endured plastic surgeries with the result of increasing ugliness. Idle questions. In "Elicon Silicon", created in 1994 with Claudio Prati and the group "Avventure in Elicottero" with choreographer Ariella Vidach, sex and language are bypassed. Three women, looking like mannequins fly through metaphysical and artificial landscapes. Some messages inform us that "Women trapped in male bodies search for female companions." Among transgressions there are also androginy and transexuality. If one must/wants to abandon the physical body why not get rid of sexual gender altogether? Conversely, one thinks of the project by the photographers Inez Van Lamsweerde and Vinoodh Matidin, with the designer Veronique Leroy, seen in Artforum (February 1996). Extremely attractive young women, with very long limbs and faces, were simply too much to be real. Indeed, they were totally synthetic. Drawn by computer. From silicone enhanced beauties to silicium women. At least, the latter don't have to fear in-flight explosions as the one suffered by the enhancements of an Italian actress in an airplane. Few are the great artists who in this century have trespassed expressive forms and media should not be named in vain. They did it not for the sake of transgression or to overstep boundaries but because they needed a larger field of action, beyond the conventions of the past. Multimedia: Natura Non Fecit Saltus, we used to believe. Many confront contradictions in the same mined path chosen by Marcello Mazzella. Simulation, with its diabolical simulacra is at the center of his investigation. Another example is evident in some earlier work: odd-looking blots that, when seen in a cylindrical mirror reveal conventional images, the well-known anamorphic images. Soon, human beings will push to explore --at an ant's pace-- interplanetary spaces. The negation of the human body is the dream of mystics and hermits, who pursued only the affirmation of the spirit. Mazzella stresses that "the human body is no longer confined in a small, restricted space, but it has become a kind of 'planetary body,' with no more limits." With exemplary engagement, he keeps pushing forward. An example to follow... Gianfranco Mantegna New York City, 1998 (Less)
EVERYWHERE NOWHERE BY MARCELLO MAZZELLA EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no (More) EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no longer necessary. Marcello Mazzella does not need to situate his work in any place or gallery. As it's said in America, the works are "just a few clicks away." After a few elementary commands to a computer the works are immediately available to anybody - from the North Pole to Australia. The needed key on the Internet is the command http://www.marcello.mazzella.info Alas, let's not forget that the images suffer from the familiar limitations: a short wait, modest dimensions and definition dictated by the computer's screen or modem. It should be no surprise that large-format images--digital, first printed photographically, are far more gratifying to the eye. In the digital arena, manipulation and elaborations create "electronic meta-landscapes of human body fragment transformed in artificial paradises" says Mazzella. Nevertheless nature still dominates, luckily. In this pantheistic universe, human beings keep playing major roles. Marcello Mazzella is a multimedia artist. "Multimedia language is just at its beginning," is the opening line of an essay by the critic Tommaso Trini in a catalogue of Mazzella's work. For this writer, the term may have insulting undertones, as "an egg-making artist." Mazzella has a distinguished production: sculpture, photography, dance, theatre, video and digital works. Confusion of tongues? For the perplexed or confused, we suggest to question theoreticians such as Peter Weibel or Derrick De Kerckhove. Or to listen to the Italian singer Carmen Consoli belting "Confusa e Felice." Mazzella himself declares that "our daily reality is increasingly confused and difficult to understand. Where is the distinction between what is true or false?" Willingly, Mazzella displays constant contrast and unbalance between Natural and Artificial; always clashing and never reduced to coincide. Artificiality is stalked in order to exorcise it; nature is nostalgia of lost paradises that in our frenzied running we have passed and left behind. Duality is a life choice to face at every step. In various images, Mazzella repeats the theme of human skin, the one we love and caress. We long for "a natural skin covering material flesh." We may have anything in cyberspace. But not our own flesh. More often, it is a daily reality. Artificial bones in titanium or magnesium, mechanical hearts (already old), bio-engineering, clonations, implants and transplants. As a close friend of Mazzella, I never asked him what he thinks of William Gibson. And I have avoided to ask his opinion about a French woman artist who has repeatedly endured plastic surgeries with the result of increasing ugliness. Idle questions. In "Elicon Silicon", created in 1994 with Claudio Prati and the group "Avventure in Elicottero" with choreographer Ariella Vidach, sex and language are bypassed. Three women, looking like mannequins fly through metaphysical and artificial landscapes. Some messages inform us that "Women trapped in male bodies search for female companions." Among transgressions there are also androginy and transexuality. If one must/wants to abandon the physical body why not get rid of sexual gender altogether? Conversely, one thinks of the project by the photographers Inez Van Lamsweerde and Vinoodh Matidin, with the designer Veronique Leroy, seen in Artforum (February 1996). Extremely attractive young women, with very long limbs and faces, were simply too much to be real. Indeed, they were totally synthetic. Drawn by computer. From silicone enhanced beauties to silicium women. At least, the latter don't have to fear in-flight explosions as the one suffered by the enhancements of an Italian actress in an airplane. Few are the great artists who in this century have trespassed expressive forms and media should not be named in vain. They did it not for the sake of transgression or to overstep boundaries but because they needed a larger field of action, beyond the conventions of the past. Multimedia: Natura Non Fecit Saltus, we used to believe. Many confront contradictions in the same mined path chosen by Marcello Mazzella. Simulation, with its diabolical simulacra is at the center of his investigation. Another example is evident in some earlier work: odd-looking blots that, when seen in a cylindrical mirror reveal conventional images, the well-known anamorphic images. Soon, human beings will push to explore --at an ant's pace-- interplanetary spaces. The negation of the human body is the dream of mystics and hermits, who pursued only the affirmation of the spirit. Mazzella stresses that "the human body is no longer confined in a small, restricted space, but it has become a kind of 'planetary body,' with no more limits." With exemplary engagement, he keeps pushing forward. An example to follow... Gianfranco Mantegna New York City, 1998 (Less)
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