lunedì 9 dicembre 2013
giovedì 5 dicembre 2013
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mercoledì 4 dicembre 2013
lunedì 11 novembre 2013
sabato 9 novembre 2013
Georgina Spengler talk
Dear Students
the artist Georgina Spengler will have a talk for us on Thursday 14 at 6 p.m
I strongly reccomend your presence!!!!
the artist Georgina Spengler will have a talk for us on Thursday 14 at 6 p.m
I strongly reccomend your presence!!!!
lunedì 4 novembre 2013
martedì 15 ottobre 2013
Prof Exhibition
COMUNICATO
STAMPA
Serafino Amato
“Fuori dal circo!”
Letterale!
18
- 31 ottobre 2013
Inaugurazione 18 ottobre ore 18.30
Galleria Monty&Company, Via della Madonna
dei Monti, 69, 00184
Orari: dal martedì al
sabato dalle ore 16.00 alle ore 20.00 e su appuntamento cell.
+39 328 7623389
"Out of the Circus!" Literally!
The elephant was walking at one meter from the road,
rather dangerous I thought, and not only for him. There was just a thin
rope separating him from the passing cars and his guardian was
distractedly playing with his cell phone… but guardians and city outskirts are
all the same at all latitudes and that indian elephant could have been in any
city or suburb of the east or west.
I took the photos of the pachyderm on
Christmans day. I was with my son, wasting away some time while we waited
for the Christmas Dinner which every year was becoming leaner and lonelier.
I used a 1951 Kodak Retina camera, very silent, but nonetheless, at the
click, the elephant jumped as if frightened. A gigantic animal, made up
of many parts… solitary, "sadly" and by now commonly urbane, a huge
desk of arid grooves and deep wrinkles that accepts caresses that seem like
slaps, until…
The central photos were shot with an old
ZeissTenax, a german camera from the forties. A small instrument with a
minuscule lens,but extremely precise. A camera that disturbs me when I
use it, maybe because it was produced during nazism, but I hope, mine at least,
right after the war. Do lens have memories? I fear they do.
These are simple photos…that look more and more like
my early work, attracted as I am by the force that is produced by what grows,
appearing or distractedly disappearing, things that when touched by light, for
a moment gain beauty.
And this elephant, bound to a proximity with
highways, who adores silence, has set in motion desires… my own, his, it doesn't
really matter, gentleness, memory, and an agitation that only the
"minimum" can give.
Digital prints on cotton paper
The
format of the photos shown in oak frames is 60 x 80 cm.
S.A.
1958.
Serafino Amato, Rome 1958. He formed his experience
in the field of experimental theatre in the early eighties. He then
dedicated himself exclusively to photography. “Segnavia”, 1989. “Der
Professor, der Assistent und” 1997. “Pallido Pallido” 1998. “Appunti per operette morali” 2002. “Fogli
dei giorni” 2008.
Since 2000, he has been working in video as
well. “RLC scrittore d’acqua” 2005 a video with Raffaele La Capria,
2005. “Racconti bislacchi” 2006. “Racconti melanconici” 2008.
In 2008, together with Lorenzo Pavolini, he published
“Ecatombe - i girini della storia”, (ed. Headmaster) “Fogli
dei giorni-leafing through the days”,
2012 (ed. Headmaster)
He teaches photography at John Cabot University
- Rome.
Galleria
Monty&Company, Via della Madonna dei Monti, 69, 00184
Orari: dal martedì al sabato
dalle ore 16.00 alle ore 20.00 e su appuntamento
Info: artstudio@montyecompany.com; cell. +39 328 7623389 www.montyecompany.com
martedì 8 ottobre 2013
lunedì 30 settembre 2013
martedì 17 settembre 2013
lunedì 16 settembre 2013
TEXT 1
Is it possible to understand “power” in relation to its own flexibility?
Modern video cameras, from this point of view, can trace parallel lives.
Whether night or day, memory challenges eaxh person’s possibilities. That is to
say that the fragments made possible by “ancient” super 8 have passed into
present time where even “stand-by” is indispensible.
Is everything indispensible, then?
What moves necessity?
The artist, of video or other, is at the service of which
indispensability?
E’ possibile considerare “la
potenza” di uno strumento in relazione alla sua flessibilità?
Le moderne videocamere da questo
punto di vista possono tracciare vite parallele. Che sia giorno o notte, la
“memoria” sfida la possibilità del fare di ognuno. Intendo dire che dai
frammenti resi possibili dagli “antichissimi” super 8 si è passati ad un tempo
presente dove nemmeno lo stand-by è indispensabile.
Risulta tutto, quindi,
indispensabile?
Cosa muove la necessità?
L’artista, che sia video artista o
altro, è a servizio di quale indispensabilità?
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