L’unico dizionario di tutti i film, il primo da navigare, Cinisello Balsamo, San Paolo, Il Farinotti Dizionario di tutti i film, Roma, Newton Compton editori. Rossella Farinotti is the author of Il quadro che visse due volte ( avg rating, 0 ratings, 0 reviews, published ) and Il Farinotti ( avg r. Chi nella propria vita abbia visto più di una decina di film sa che la storia del cinema non si può che declinare al plurale: quella che per comodità di targhette .

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Maybe dimensions that are architectural. I kept ip dimensions of my piece the same as he had chosen. The movement in my work, whether it is tangible or not, is a form of restless engagement with materials, ideas, and the environment.

And one does not get lost but loses oneself, with the implication that it is a conscious choice, a chosen surrender, a psychic state achievable through geography.

I was attracted to it aesthetically because it was totally unfamiliar to me then. Politics is a latent presence in your work but not in a didactic way. And also an attempt to look closely and pay attention.

In farniotti last years she curated various exhibitions on young Italian artists. And that does more justice to the complexities that I experience as an Iranian female artist living in the U. I also want to bring up the title you chose for the show, Negative Capability. They overwhelmed the two-dimensional Black Squarewhich sort of represents a gate. Also, the negative spaces are crucial.

This movement literally and conceptually opens up space for experimentation. The act of looking for something that was beyond the paper—which represented a window to frame reality or see through—is political.

These unstable places allow things to develop outside of their constructed binaries.

Rossella Farinotti interview with Nazafarin Lotfi – Regards

Since she lives and works between Milan and Chicago. However, I see my work more opposing the utopian universalism that Suprematism proposed. Exhibitions Artists Ten News Contact. I describe it as a space that opens up a conversation about our distinctly different personal, political, and historical experiences.


File:Pino Farinotti.jpg

But in the performance you were farimotti moving the sculptures. Spaces that associate with different times, perspectives, and spatial axes. Yes, a third space or a hybrid space that is not simply material nor mental. Also opposing the universalism of the social realism that I grew up with.

To open up a conversation that can fluctuate between political and existential, personal and universal. His revolutionary gesture took the shape of a minimal black square, an icon that resisted the traditional image making. This feeling of living in an unfamiliar place intensifies the perception of everything around you. This reminds me of the performance you farinoti with your sculptures at the park during your residency at the Arts Incubator.

I knew part of me was rebelling against a patriarchal figure in my art life. I first learned about the Russian avant-garde artists in undergrad when I was studying design in Iran and became fascinated by their abstract language which was political farrinotti revolutionary.

And I found this relationship, me and this older Russian man, funny. In the recent drawings, your approach to creating multi-dimensional spaces is similar to the wall sculptures. Can you talk about it? I think placing myself between two very different aesthetics and ideologies allows me farinofti create a more complicated personal language.

File:Pino – Wikimedia Commons

I also noticed that in these recent works you moved towards using color, how did you choose the colors and how did they enter the work? I remember this piece, Encounter in placefromwhere you were going around your neighborhood in Chicago and taking pictures through a piece of punctured paper. In the work that you produced for Negative Capability which you will show at Regards in Chicago, you conceptually and visually developed a new dimension or a third space.


Rossella Farinotti is a contemporary art critic, curator and writer. There was something irritating about this flat utopian space, and I wanted to work with that.

As you mentioned, this sounds like an attempt to ground myself in this new unfamiliar afrinotti. Some are combinations of different perspectives and others refer to multiple spaces, which suggest movement of some sort. In these recent works, you are dealing with an inner shift of material ll movement in viewpoints and eye-level. And then I cut and rearranged it, and placed my personal objects inside the piece. These ambiguous conditions are places where resistance, imagination, and rest are possible.

From to she was the assistant of the Ministry of culture of Milan.

In she realized Arte contemporanea: A place that can be conceptualized or imagined farinottti not experienced; a place that cannot be. Your approach is not only aesthetic or ephemeral, it actually becomes a real reflection on time and space.

To create a place that was contradictory or irrational. Indarinotti published il Quadro che visse due volte Milan: The orange came from a piece of fabric that I found at the studio.

It was very exciting to learn about these revolutionary artists because their work was not didactic or representational, unlike what I had seen around me and I was so bored with. And how bodies and sculptures interact with space. I want to create different kinds of spaces in the piece.

I was excited to imagine what Malevich could have seen happening in there. This coincidence inspired us to continue our conversation over the next few months.