Geode CTTC
Video installation, 4 ‘loop, sculptures 5 pieces of plaster casts and alginate, human beard and eyelashes, make-up, unique piece, 2015
Video and sculptures Tiziana Contino and Carlo Tuzza
Performer Tiziana Contino and Carlo Tuzza
Emilio Greco Museum – Catania (Italy)
The work consists of a video installation and a cast of anatomical parts in contact with plaster and alginate, as well as of beard, hair and make up. The concept is inspired by the geode as a primordial element, the outside like a simple stone but once inside is divided into two rich quartz crystals. As for the two halves of the apple described by Platone, the geode can bind only to its symmetric part. Associating the soul metaphorically geode, this brings forth from the cast to contact soul mates, that develop in one half of each until reach two faces separated in a sort of Rebis. Video completes the sense of “path and union” from a drop of water, there is a swell of a stream that reaches its climax in a cascade, the two faces overlap until a gradual disintegration slowly is turning back the water of the waterfall until a single drop. The path of life together now over again in a new life. Reborn from geodes in a sort of loop, eternal return, meeting perennial.
“This be harmonious and mysterious, they are in Litografiedel Master Greco with bold strokes but almost always undefined contours, is confused with its opposite, the male body. This suggestion comes from the work of Tiziana Contino, former professor at the Academy of Catania and Torino, sublime performer of the states of the soul, which in this project pays tribute to the memory of the master Greco with a new creative: “The Geode”, a series of sculptures that take shape from casts of his body and its complement, taking up the Platonic idea of reaching the completeness of the human being through the search for the lost half, hoping that “everyone encounters the creature loved returning to the old nature “…”.
(Plato: The Symposium, edited by Francesco Enrico Boscarino and Piscione, Edicooper Palermo 1987, p. 61)
text Adele Nicotra
CAUSALITY
2014, photo, lambda print on aluminium and plexiglas, video, performance.
2014 Zanino in spalla 2, Atelier Giorgi, Torino (Italy) curators Lucia Zappacosta, Giovanna Giannini Guazzugli, SpongeArtecontemporanea
link performance https://vimeo.com/124946459
performance, photo, video, videoinstallation
Performer Tiziana Contino, Lidia Tropea (2009), Bruno Cerasi (2014)
2012 2video CROSS REVIEW OF VIDEO ARTIST
Undo.net, Barriere selected by Giovanni Viceconte http://www.undo.net/it/duevideo/1332000771
The video work of Tiziana Contino is the crystallisation in fixed camera of a disturbing link between the events. Causality is indeed the report, the relationship that connects a document or a fact that comes to the event, according to a dynamic perspective of voluntariness of actum of a “body position”, which is the only alive, disturbance of homeostasis.
(U. Galimberti)
A line of demarcation, an altar, the fragile glass screen, an ordered vertical structure of empty glasses built slowly, methodically around a body. It is the intervention, the assistance of complicity, imponderable because invisible. The perfect murder, the murderess without motive. The glass can be the zero degree, sterile, matter, fluid drive, “reveals only the sign of its content”. Contains a vacuum.
(Baudrillard)
The female body curled up, static, concentrated, tense, “devoid of social identity and the individual’s face is gone, it remains a generic body, blindfolded (…) the body becomes a symbol of a revolt” (Galimberti). Excluding the eyes, the body appear as a bandaged wound. The artist seems to steal the identity for leaving the gesture, the voluntary act that brings with it a charge, however, uncontrollable consequences. It is a body that manifests itself, it brings into existence. The verdict is the elusiveness, the mysterious, the inscrutability of other acts competing. Remains the explosion, the act traumatic and disintegrating, definitive, the dispersion of energy in an explosion that leaves a distortion of reality in scattered fragments. Barbed and gleaming.
Like blades. Solve et coagula.
text Simonetta Angelini
ICONICANICONICANICONIC
video – performance -installation
original music Carlo Tuzza
2015 2video CROSS REVIEW OF VIDEO ARTIST
Undo.net, In/out selected by Giovanni Viceconte https://1995-2015.undo.net/it/duevideo/1433422755
“What we call the face is precisely this exceptional presentation of self by self. The way in which the other presents himself, exceeding the idea of the other in
me, we here name face. The face of the Other at each moment destroys and overflows the plastic image it leaves me, the idea existing to my own measure.
It expresses itself.”. cit. EMMANUEL LÉVINAS
The topic “the other by itself” is inexhaustible theme and dear to many philosophers, anthropologists and sociologists.
The questions I ask myself in this video work are as follows:
What is the relationship between us and the absolute?
The landing is inside or outside the us?
It is desirable interior solution?
The video that I created is based on the idea of “the other self” and the concept of dogma.
A hand turns the pages of a sketchpad with white pages . Start a comparison between the observer and the observed. A report of glances between the user of the video and the block that reveals every page rotation, new visual forms. Initially, we are faced with a number of Christian iconography that refer us to a vision of the certain, recognizable , reassuring. Leaf through the pages we discover other forms: a landscape, an animal , a arabic modular structure, a Japanese press, impossible figures , and so on until you reach a hundred iconography . At some point between the images that follow a few sheets appear completely white. In the viewer there is a change of vision. The knowledge of many visual forms and representations of the other leads to the idea suspend some of its real images. What first seemed defined and secure , it becomes increasingly less certain. The video closes with the parade of several white sheets and a white fade, as in a epoché the viewer reaches a dogmatic state.
In comparison with the face of the other, intended as the residence of the identity, we tend to lose the sense of difference and we feel responsible for what we see as a mimesis, empathy. In fact, the other remains unknown to us, not unknowable manipulability, and it is precisely the difference to give us the key, the instrument of greater knowledge: respect for the mystery. The landing to reach me is through the experience of the consciousness of the impossibility of defining a hard-edged.
UNHEIMLICHKEIT – VIOLENCE
photo, 2011
2011 PERTURBAMENTO – UNHEIMLICHKEIT, solo exhibition, Sponge Living Space, Pergola + skype with ABADIR (Italy) curator Chiara Vigliotti
UNHEIMLICHKEIT is a German term that means within the range of feelings of fear, a very special case: familiarity and strangeness at the same time.
This makes it a state of anguish and confusion. It is believed that male violence against women is the leading cause of death in the European community and the world and is even an increase of 6.7% compared to previous years. It is estimated that about 127 women killed in a year of 114 the murderess is even a family member.
This familiarity would create confusion in the victim, not recognizing in front of a potential attacker who is not able to pose with the right approach to the situation.
UNHEIMLICHKEIT refers to the perception the victim may have, a moment before his murder. A moment before, which perhaps you could avoid its aggression.
How do I distinguish good from evil, in the moment of maximum bewilderment? Probably just an instinct, just that disturbance could be a sign that can bring back to life, to freedom.
DIFFERENT BY
photo, video, videoinstallation
original music and sing by Sabina Caruso
link video https://1995-2015.undo.net/it/duevideo/1304945054
2011 54 VENICE BIENNIAL ITALIAN PAVILLION/ACADEMY, Tese di San Cristoforo, Arsenale, Venezia (I) curator Vittorio Sgarbi
2011 2video CROSS REVIEW OF VIDEO ARTIST Undo.net, Delocalization selected by Giovanni Viceconte
2011 Vplatform #2 f les under culture Church of Saint Nicola and Erasmo, Modica (RG) curator di Francesco Lucifora
2010 VIDEO.IT – VIDEOmed “MEDITERRANEAN NORTH – SOUTH: MAPPING HOSPITALITY” Fondazione Merz, Turin and Care of, Fabbrica del Vapore, Milan (I) curators Francesco Poli, Francesco Bernardelli, Mario Gorni, Cristiana Perrella
2010 FestArte VideoArt Festival – sezione off, Macro Testaccio, La Pelanda, Museo di Arte Contemporanea, Rome (I)
2010 Anakata 24+, Municipal Cultural Center IRIS, Salonicco (GR) curator Constantina Pozoukidou
2010 Perfect number, project room, Sponge Living Space, Pergola (PU), curator Susanna Ferretti
“Most of our life is subject to a paroxysmal reproduction of consumer object, art must be included in this context, for extract from that little difference among the other simultaneously acts between levels of repetition. “
Gilles Deleuze
The video work ‘DIFFERENT BY’ is a reflection about the outsourcing and economic-geographical location with all the consequences; a simulation that just play with the grammar of the game, engages an almost painful to hear of this shift- migration and relocation. A large map, 3 x 2 meters, without names of countries and places only the lines that demarcate boundaries invented by man to sort the places and cultures.In a path that is BY (someone) TOWARDS, (a place) TO (reach, subdue, exploit, modify), a place sometimes differs from what the clichés make us think. Similarly the ancient game AM SALAM or game of bell, skipping a single participant trampling several areas of the Mediterranean basin by running every time on a euro zone that will win. Similar to the stock exchange, money flows migrate in a way unknown to most of the population that understands property without apparently to influence these movements. In a mood that repeats itself depleted resources and culture of a place where the back end is only the dust.
HONEY_MONEY – POETIC OF ABSENCE
performance, photo
2011 54 VENICE BIENNIAL ITALIAN PAVILLION/ACADEMY, Tese di San Cristoforo, Arsenale, Venezia (I) curator Vittorio Sgarbi (work in exhibition catalog)
2009 KunStart Bozen
2009 Espressioni italiane Ambasciata d’Italia, Atene, Grecia, a cura di Rosa Anna Musumeci, Afrodite Oikonomidou, Francesco Lucifora, Gianalberto, Farinella, Giorgio e Dimitris Georgakopoulos, LeftherisPlakidas
2009 Chepart Salonicco, Grecia, curators Rosanna Musumeci, Afrodite Oikonomidou, Giorgio and Dimitris Georgakopoulos, catalogue
The annihilation created by the concept of money, and the fragility of the richness which surrounds it are the issues analized from this work. Honey is used as glue (aesthetic) of petals – coins that the human protagonist put on the model face flooded covered like a mask of beauty, a new aesthetic where show off is the only status symbol as possible.
The money like vain element takes on the human body shape and its growing needs, and insatiable to consume and reduce it to a disappearance announced extinction self-induced by the immoderate use of earth energies.
EX STASIS – TISSOTROPICA
multimedia interactive installation
2009 UNCENSORED KunstArt Bozen, Bolzano (I) curator Valerio Dehò
2008 DARKNESS IS NOON -Tina b, Iternational Contemporary Art Festival Praga (CZ); curators Monika Burian Vernon Gallery, Prague, Michaela Giovannotti, Rosa Anna Musumeci, catalog
Since changing the perspective is the key aim of the artwork, Contino chooses to alter, indeed to reverse, the most cherished popular taboos: that miracles are unrepeatable and inexplicable events. The artist shows how they may be scientifically reproduced by a thixotropic material (a solid substance – blood or ketchup – that turns into liquid when shaked), thus unveiling the spectacular tricks of morbidly mediatized events like the weeping Virgin or Saint Gennaro’s miracle. By a borderline procedure – something in between science and the magics – the artwork thus manifests its ability to keep together two parallel worlds. In this project, moreover, light is antithetic to vision, as the latter becomes visible in the dark. Images disappear when people try to get nearer and thus activate an automated switch, and reappear when they depart. Far from illuminating and allowing to see, light blinds. The observers are thus driven toward the crucial dilemma: either losing themselves in the dogmatic brightness of whichever faith (be it religious, political, scientific), or waiting for twilight in order to perceive the deepest meaning of things.
txt Rosa Anna Musumeci
HE-ART
performance, photo, video, interactive origami book
link video https://www.youtube.com/watch?v=YHxKBtuysHw
2013 IN SERIES, artist’s multiples for a multiple show Catania, Spoleto (I), Berlin (D), curator Anna Guillot, text by Roberto Lambarelli
2010 QUANT AU LIVRE video artist book, Galerie Martainville ERBA Rouen, Francia (F) curators Anna Guillot, Dominique De Beir
2008 VIDEOMINUTO International Video Festival Contemporary Art Center Luigi Pecci, Prato (I) curator Raffaele Gavarro
The HE-ART video have double meaning: ‘heart’ and ‘this is art’. But What’s Art? In the video four hearts are ‘sculpted’ by a blade while a list with names of artist runs on the screen. This name is witness of their existence and passion that hat the end of the video, creates on the heart the text A R T. Between a grow up and a decrease, a build and restructuring, the final result is the self statement of Art like essential vehicle of culture in the human life.