Liszt

source: vimeo

Siamo agli inizi del ‘900, tre bimbi posano per una foto di famiglia. I bimbi sono i piccoli pionieri di una colonia di immigrati cristiani a Gerusalemme. Ai volti smarriti l’intervento successivo del fotografo ha regalato quel colorito posticcio tipico delle foto dell’epoca; una combinazioni di tonalità cromatiche che profuma di biscotti e latte caldo, di bambole di porcellana, di lunghi viaggi in mare, di vecchi libri impolverati, di un passato che ci rassicura nella sua artificiosa “innocenza”. E’ questo il punto di partenza per una trasfigurazione digitale in cui la parte inferiore del mio volto si sostituisce a quella dei bimbi, in un rovesciamento del tempo e del senso che si cristallizza in un non-tempo e in un non-senso, mentre prende vita un racconto che sovrapponendosi alle peculiari circostanze in cui è stata scattata questa foto ne ricerca il significato metaforico. I tre bimbi diventano così tre archetipi umani imprigionati nella gogna eterna di una foto di famiglia. Una comunione forzata che si traduce nell’insofferenza reciproca, nella violenza crescente della parola che si sovrappone alla parola impedendo qualsiasi interazione. Il senso di incomunicabilità è ottenuto giustapponendo spezzoni di frasi rintracciate su Internet, in un mash-up da cui si dipana un dialogo contemporaneo “non sense” che rivela come la parola senza ascolto sia, consapevolmente o meno, pura violenza. E così anche l’universo celato in questa foto, l’epica dei sogni e delle illusioni umane, nell’album di famiglia della ricerca dell’innocenza perduta di questi antichi pionieri, si traduce in una forma di violenza che attraverso la storia non può che portare alle estreme conseguenze. Quando c’è solo la parola, la propria, la bocca diventa un’arma. Eppure l’invito all’ascolto viene alla fine recuperato, in una sorta di messaggio di speranza che faccio consegnare al mondo da questi tre inconsapevoli antenati.
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source: vimeo

It is the beginning of the 20th century and three children are posing for a family photo. The children are young pioneers in a colony of Christian immigrants in Jerusalem. The subsequent intervention of the photographer has added to their bewildered faces the false colors of the photos of the period; a combination of chromatic shades with the odor of cookies and hot milk, porcelain dolls, long sea journeys, dusty old books, and an artificial “innocence”. This is the point of departure for a digital transformation in which the lower part of my face replaces that of the children, in a reversal of time and meaning crystalized in a non-time and non-meaning, as a different kind of story comes to light which, superimposing itself on the peculiar circumstances in which the photo was taken, looks for its metaphorical significance. In this way the three children become three human archetypes imprisoned in the eternal pillory of a family photo. It is a forced communion that translates into reciprocal impatience and an increasing verbal violence that superimposes itself on the words, preventing any kind of interaction. The sense of incommunicableness is obtained by juxtaposing fragments of phrases found on the Internet, in a mash-up that unravels into a contemporary senseless dialogue that reveals how a word not listened to is, consciously or not, violence in its pure state. And therefore the universe concealed in this photo, the epic of human dreams and illusions, in the family album of the search for a lost innocence by these ancient pioneers, is translated into a form of violence that throughout history has brought extreme consequences. When there is only the word, one’s own, the mouth becomes a weapon. Nonetheless, the invitation to listen is recuperated in the end, in a sort of message of hope that I consign to the world through these three unknowing ancestors.
the portrait
Horatio, Tenneta and Anna Grace
LC-DIG-ppmsca-18415-00026
Portraits of the Vester and Whiting families and other members of the American Colony in Jerusalem
between 1905 and 1913.
shared by Beverly&Pack
sound samples from freesound.org
music score
Franz Liszt, Romance, S.169
performed by
Mauro Tortorelli, violin
Costantino Catena, piano
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source: francescafinitumblr

Trained as a digital artist, she has been working for 15 years as a filmmaker for TV and independent productions.
In 2000 she met the American artist, Kristin Jones, and they collaborated on the “Tevereterno” (Eternal Tiber) project, creating multimedia installations for the City of Rome. Among these works was “Trilogy”, for the Natale di Roma (Birth of Rome) celebration at the Capitoline Museum, and “Solstizio d’Estate” (Summer Solstice) with monumental giant images of the She-wolf created by removing part of the smog stains from the embankment walls of the Tiber River.
In 2008 she participated, with Kristin Jones, Kiki Smith and others, to the River to River Festival in New York, projecting her animation “Moon Loop” onto the trees along the Hudson River.
She presently participates as a video-artist and live media performer to numerous happenings in art galleries, museums and underground sites, and also takes part in festivals and international events such as the Videoholica (Bulgaria); Experimental Art Festival Biennale Baltica (Russia); LowLives (NY); Cologne Off & New Media Art Festival; Currents Santa Fe’; Moves – Movement on Screen (UK); 700is Videoart Festival (Iceland); Genoa Film Festival; Tribeca Underground; Arcipelago Film Festival; Portobello Film festival (UK); WRO New Media Art Biennale (Poland); Directors Lounge (Berlin); and Contravision Film Festival (Berlin).
In 2010 she was one of the winners at the Magmart Videoart Festival (Video Under Volcano), with her CRY ME videoperformance. Also, two of her works won the on-line vote in the Celeste Prize section: “Live Media & Performance”. She also exhibited at the “Invisible Dog” gallery in Brooklyn.
During the same year she was selected by the Premio Termoli for her digital painting works; by the Art Shake Festival (exhibiting at the Galleria Mondo Bizzarro and Hybrida Contemporanea, in Rome, and immediately after at the 91mQ Art Project Space in Berlin).
She was invited by the Fondazione RomaEuropa to present her work at the Teatro Palladium in Rome, as part of the videoart exhibition, “Cantieri Temps d’Images”. She also directed “TEN” Performance Art Festival, a marathon of live art whose first edition took place on October 2010 in Rome.
In march 2011 she was at the Nappe dell’Arsenale in Venice as a finalist in the Performance Art section of the Premio Arte Laguna. On April she was in Lisbon as a guest of the Anthropology Faculty of the local University, presenting her performance in an academic setting, as part of the “No Performance’s Land?” exhibition.
In May she was guest of the WRO Art Center in Poland, for the WRO 2011, the noted Biennale devoted to New Media.
In June she presented, during four days, her new performances at the Macro Contemporary Art Museum in Rome, on invitation by the ADD Festival.
She also has been invited by “Omissis Contemporary Performance Festival”, in July 2011.
In September she has been at Macro Museum again, with all her videoart pieces, for “Visioni Acustiche” videoart Festival.
Between October and November 2011 she has been in Bologna and New York, to perform her more recent pieces as a finalist of the Celeste Prize International.
In 2012 she partecipated to “Norme per la Rivoluzione”, curated by art critic Bruno Di Marino at Volksbühne of Berlin and at Cinema Massimo in Turin, in collaboration with Goethe Institut and Museo Nazionale del Cinema.
In march 2012 she was among the winners of Magmart Videoart Festival with the video “Blood”.
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source: francescafini-italiansitetumblr

Nata a Roma nel 1970. Vive e lavora a Roma.

Con una profonda formazione come artista digitale, ha lavorato per 15 anni nel campo della produzione tv.

Nel 2000 incontra l’artista americana Kristin Jones e collabora con lei al progetto “Tevereterno”, creando installazioni per la città di Roma. Tra queste la colossale “Trilogy”, per il Natale di Roma 2009 con una grande mostra ai Musei Capitolini, e “Solstizio d’Estate che, con la sua monumentale processione di lupe giganti ricavate rimuovendo lo smog dai muraglioni del Tevere, è stata considerata una delle opere di arte urbana più interessanti degli ultimi anni nella Capitale.
Nel 2008 partecipa, insieme a Kristin Jones, Kiki Smith e altri artisti, al River to River Festival a New York, proiettando la sua animazione “moon loop” sugli alberi dell’Hudson River.

Oggi partecipa come videoartista e live media performer a numerosissimi happening in gallerie d’arte, musei e ambiti underground, prendendo anche parte a festival ed eventi internazionali come Videoholica (Bulgaria), Experimental Art Festival Biennale Baltica (Russia), LowLives (NY), Cologne Off & New Media Art Festival, Currents Santa Fe’, Moves – Movement on Screen (Uk), 700is Videoart Festival (Islanda), Genova Film Festival, Tribeca Underground, Arcipelago Film Festival, Portobello Film festival (UK), WRO New Media Art Biennale (Polonia), Directors Lounge (Berlino) e Contravision Film Festival (Berlino).

Nel 2010 è tra i vincitori del Magmart Videoart Festival (Video Under Volcano), con la videoperformance CRY ME, e con ben due opere si aggiudica il voto on-line del Celeste Prize sezione “Live Media & Performance” ed espone alla galleria “Invisible Dog” di Brooklyn.
Nello stesso anno viene inoltre selezionata dal Premio Termoli con le sue opere di pittura digitale, dall’Art Shake Festival (esponendo alla Galleria Mondo BIzzarro e Hybrida Contemporanea di Roma, e subito dopo al 91mQ Art Project Space di Berlino). 
Viene invitata dalla Fondazione RomaEuropa a presentare il suo lavoro al Teatro Palladium di Roma, all’interno della rassegna di videoarte “Cantieri Temps d’Images”. 

Nel marzo 2011 è alle Nappe dell’Arsenale di Venezia, come finalista assoluta del Premio Arte Laguna sezione Performance Art. Il 14 aprile è a Lisbona, ospite della Facoltà di Antropologia della locale Università, per presentare le sue performance in ambito accademico, all’interno della rassegna “No Performance’s land?”.
A maggio è ospite del WRO Art Center in Polonia, per la WRO 2011, la storica Biennale dedicata al New Media.
A giugno ha presentato, nel corso di quattro giornate, le sue nuove performance al Museo di Arte Contemporanea Macro di Roma, su invito dall’ADD Festival. E’ stata inoltre ospite del Festival internazionale di Performance Art Omissis.
A settembre è stata di nuovo al Macro Testaccio con “Visioni Acustiche”, festival di musica indipendente e videoarte.
Tra ottobre e novembre 2011 ha viaggiato tra Bologna e New York per presentare tre delle sue ultime performance, in qualità di finalista assoluta del Premio Celeste di Arte Contemporanea.
Nel gennaio 2012 viene invitata dal curatore Bruno Di Marino a partecipare con il suo ultimo video “Blood” alla rassegna “Norme per la Rivoluzione”, con anteprima alla Volksbühne di Berlino e al Cinema Massimo di Torino, in collaborazione con il Goethe Institut e il Museo Nazionale del Cinema.
Nel marzo del 2012 vince la VII edizione del Magmart videoart festival con il video “Blood”.
Nel settembre del 2012 è a Belo Horizonte, in Brasile, per presentare la sua performance BLIND all’interno del prestigioso festival FAD Festival de Arte Digital. Nell’ottobre 2012 è finalista del Premio Adrenalina, con mostra al Macro Testaccio, e del Premio Fiorenza Sorbelli, presso la galleria Mondrian Suite di Roma.
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source: woolooorg

LISZT a video by Francesca Fini It is the beginning of the 20th century and three children are posing for a family photo. The children are young pioneers in a colony of Christian immigrants in Jerusalem. The subsequent intervention of the photographer has added to their bewildered faces the false colors of the photos of the period; a combination of chromatic shades with the odor of cookies and hot milk, porcelain dolls, long sea journeys, dusty old books, and an artificial “innocence”. This is the point of departure for a digital transformation in which the lower part of my face replaces that of the children, in a reversal of time and meaning crystalized in a non-time and non-meaning, as a different kind of story comes to light which, superimposing itself on the peculiar circumstances in which the photo was taken, looks for its metaphorical significance. In this way the three children become three human archetypes imprisoned in the eternal pillory of a family photo. It is a forced communion that translates into reciprocal impatience and an increasing verbal violence that superimposes itself on the words, preventing any kind of interaction. The sense of incommunicableness is obtained by juxtaposing fragments of phrases found on the Internet, in a mash-up that unravels into a contemporary senseless dialogue that reveals how a word not listened to is, consciously or not, violence in its pure state. And therefore the universe concealed in this photo, the epic of human dreams and illusions, in the family album of the search for a lost innocence by these ancient pioneers, is translated into a form of violence that throughout history has brought extreme consequences. When there is only the word, one’s own, the mouth becomes a weapon. Nonetheless, the invitation to listen is recuperated in the end, in a sort of message of hope that I consign to the world through these three unknowing ancestors. the portrait Horatio, Tenneta and Anna Grace LC-DIG-ppmsca-18415-00026 Portraits of the Vester and Whiting families and other members of the American Colony in Jerusalem between 1905 and 1913. shared by Beverly&Pack sound samples from freesound.org music score Franz Liszt, Romance, S.169 performed by Mauro Tortorelli, violin Costantino Catena, piano.