Testi di: Marco Maria Gazzano, Enrico Cocuccioni, Eloisa Saldari, Veronica D'Auria, Alessandra Troncone
Marco Maria Gazzano Signs of life from the planet land
Lino Strangis is - today - a thirty year old lover. Artist and also caught a bit 'philosopher like - today - should be for all those that deal with the complex and diverse world of "arts", Strangis is both composer and videomaker, Cinephile and photographer, "designer" of the vision and activist web: a "craftsman" multimedia able extent (expressed qualitatively) with both intermediality that with the legacies of history, with both manual and with the goals, the cameras and keyboards. And, of course, challenges still open presente.Le of his works speak to us with great attention to form, the image is that of sound, with great care in the construction of events, of great energy in interventions chromatic and spatial-temporal sequences: taken by himself or "ripped" from the web with an original and seductive performance act reconsideration of images and / or micro sequences seemingly trivial or apparently in-significant or simply to other underlying considered more " important "in the conventions and stereotypes of media.Le his pictures - most importantly - are correct, proper" image-sound. "Strangis knows the audiovision is not only an evocation of theory but a practical technology and expressive Specification: The word, if needed, should be used just as an image between the images. For this reason, he always starts from the "face" sound delle immagini elettroniche, coniugandola poi (ma il processo compositivo è quasi istantaneo, coesistente nella progettazione concettuale come nella pratica “videoartigiana” dell’artista) con la dimensione del visibile, del colore e delle temporalità; sempre ri-costruite, non naturalisticamente, grazie alle tecniche di post-produzione numerica.La natura fotografica (e compositiva in senso musicale) delle sue videografie è evidente: anche quando si tratta di immagini “di ritorno”: che ci ri-appaiono nelle sequenze animate e nelle videoinstallazioni (sempre più spesso video sculture ambientali) dopo il lungo viaggio mentale con il quale l’autore le ha accompagnate – quasi immergendole a una a una – nel flusso vivificatore del cinema, ma anche delle storie dell’arte come di quelle della videoarte.Di qui le ascendenze, riconoscibili e non ingenue – e proprio per questo funzionali – punto fermo per viaggi ulteriori nella conoscenza di sé: le video cartoline romane di Sasso in Visioni di un mezzogiorno (in “Videocarillon” III tipo, n. 4; del 2007), le nebbie inquietanti e metaforiche di Antonioni in Posologia del pericolo (2008), i rallentamenti e le trasparenze temporali di Cahen evocate dalla giovane danzatrice nella leggiadria e nell’intensità poetica di Autopoiesis activity (2008), la natura innaturale di Fontana e Burri nella plasticità aerea del volo degli storni Rome in Sky-noise ... harmonies of chaos (2008) or in the river, classical metaphor of time, taken from above, cut and stained with blood from a canoe as a razor For ever trip of Eternal Sunset ... Time (2008), paroxysmal acceleration and deceleration in the contemporary fast pace of population in the city of Reggio become depersonalized in The city that rises and falls (from the trilogy "The City as well ... the body fluid of the urban area" in 2008/2009 ) ... Not to mention the disturbing and still lifes of hibernating White Time of Life (2009) extended into eternity by the interstices of the web. As many evocations the many video production Strangis: but never "citations" academic, but rather points of departure, opening words to new records, and if anything, intermittent heart-always - acts of love for authors and critics loved by an author - in fact - in love art. In love art but also the social function of art. That takes care of the nonlinear time and chaos theory, of the multiple identity of the subject as the metaphorical processes that regulate the practices of expression, which shares the pessimism Baudrillard and the radicalism of the Enlightenment no logo Naomi Klein, the positions of Sontag and Barthes on photography as an instant of life, but also capable instances to arise not only aesthetically but ethically sensitive. Ecology (the Spirit of Nature and Media), as well as on the fringe of society in the challenging project The Voice of the unheard (2009) in which the bodies of the interviewees tell stories of hard life immersed in light, but without can be understood by us, distracted and couch potatoes "videoascoltatori." In his "signals from the planet Earth" Strangis is high and poses philosophical questions, as for everyone, not just a lifetime of research to find answers. The same extreme prolificacy of his work, the choice of works such as short and intense moments of tension (even extended to "loop" in later video installations) declares love is true for research that dissatisfaction - which does him honor, as every true artist - for risultati.È still important to listen, because it is not unusual for an artist after 2001 ( "young" as dictated by fashion and the rhetoric of the media and power today) to have these questions and ask these questions. "I am an avid supporter of the enormous potential opened up by technology in every field of knowledge, including of course the art" (... ) "In the continuing evolution of technology is not the same as all progress of thought" (...) "We live in fact a highly reactionary phase e di grande immobilismo culturale» (…) «Ciò che ricerco è la natura profonda dell’audiovisione elettronica ed in fondo la natura della natura stessa: la mia ricerca è in primo luogo rivolta alla verità che è in tutte le cose e quindi alla condizione dell’uomo all’interno dell’esistente tutto» (…) «Il mio strumento poetico principale è l’alterazione della cosi detta visione naturale (…) ecco perché uso sempre tanti effetti di ri-colorazione, ristrutturazione, ri-modellizzazione del dato “reale” che raccolgo: la mutazione, il movimento, la motilità e la variazione della percezione ci “suggeriscono” che lo stesso concetto reality must be overcome, that the very idea of \u200b\u200bthis is that the historic presumption of Western man to be subject ruler of the world, to hold the biased view of things "(...)" We must first undermine the idea widespread than what you see on television is reality (...) for this my audiovision declare to the contrary immediately be their own fiction and as such gain value of truth, a truth only relative to the spatial context and who can affect mental with their presence. "binding statements, even burning, not only by" young artist ", but by concerned citizens, who - in the landscape of rubble that surrounds after the "perfect crime" committed by power with the cynical use of the media against the reality-still sees a prospect of progress, not that the videography, installations, digital photographs or music Strangis are overtly "political." I am not at all, indeed, abstract, light and smooth as I am. But - as any antidote placed in the body of social communication-even short forms of help to unravel this author, also the sloth and the absent-minded, clear the statement that resistance induced by an excess of communication, it is still possible.
Henry Cocuccioni Videometafore in time of crisis
The time of crisis is manifested in the art with some significant changes in the forms of representation. Crisis of the supposed realism that characterized the worship of fotografiadocumento.Crisi idea of \u200b\u200breal-time flow, or direct engagement of media technology on everyday life, with its metaphorical attribution the languages \u200b\u200bof the electronic video connotations "liquid" as opposed to relative "strength", or durability, due to other forms of visual expression-plastic (including photograph). But a crisis in the face of new digital media, the myth of immateriality and total virtualization of experience that has permeated the emphasis "posthuman" typical art of the 90s of last century. Now it is clear that the same photo, now with the spread of digital techniques at every level, it becomes itself an expressive material mouldable at will, completely manipulated by computer programs. For more verso, il flusso video non può che subire una letterale segmentazione numerica, un processo analitico di campionamento e dunque di relativa “solidificazione” compositiva e riproduttiva. Avviene così un conseguente rilancio della fase del montaggio, della rielaborazione postuma delle immagini rispetto al momento iniziale della ripresa. Non più flusso ininterrotto, dunque, bensì ‘animazione’, per così dire, di singoli quadri disposti su più livelli compositivi stratificati. Infine, sul fronte del virtuale, l’idea stessa di immaterialità cambia di segno proprio nel momento in cui si pone l’accento su di una sfera sensoriale sempre più avvolgente e tangibile, tale da configurare veri e propri specific environments and installations that have a clear consistency "plastic-sculpture." The manipulation of digital video, then, does not eliminate but rather, to some extent, strengthens its status as an "object", sometimes even cumbersome entity, able to occupy an existing site and change the sensory impact, opening the significant additional space. The work of Lino Strangis takes into account the historical distance that now separates us from the first research videoartist. His works follow the vocation of a compositional process that takes the metaphorical mind this new context of art. Compared to a frantic and regressive "pseudo realism" with which we deal usually the new techniques of representation in the current media horizon, Strangis openly choose other routes, as the author aware of the difference between the reality of each artifact figural and the vivid images of evanescence mentali.Un work that invests in the same time, and with similar compositional procedures, both the field of vision that immersion sound listening. "Music for the Eyes" and "animated photographs" in the same plastic space and performative, as suggested by the same artist. The work depicts the continuity of experience that does not include the typical time shifts of film editing, but that even pretends to offer himself as "Live" on reality, as if for the simple real-time recording of an event. The critical distance that the work of Strangis takes over today's ideologies of media transparency, it could not be more clearly marked. At speed, the incessant "variability" of television images, the artist often contrasts with the slowness of the sequences, the "serial iterative" figural elements even within individual shots. This at times leads to a kind of mosaic, modular design that divides the surface texture of the screen producing perceptual alienating effects. Linear narrative development, prefers Strangis recursive circularity, of cyclical time sequences "ring" that are offered to the gaze of the viewer moving on the stage of their facilities. In short, the metaphorical process which is the basis of these works is today, in time of crisis, such as critical thinking in action, antithetical to the way typical of today's television representation of the "world", capable of taking up the thread of research that has found expression illustrious forerunners in the last century, but now can suggest new paths to unexplored territories of art.
Eloisa Saldari beyond space and time
When I saw for the first time a video Lino Strangis I had the feeling of being enveloped by a wave of multitudes. As in a simultaneous viewing his works show a mosaic of diverse worlds imaginable and unimaginable. "If this is the best of all possible worlds, then where are the others?" One seems to ask Strangis almost embodies a modern Candide voltairiano.La reality, in its apparent objectivity and veracity, nasconde una natura artefatta, spesso ingannevole.Con i suoi video Lino Strangis sembra voler aprire una finestra su un altro mondo scevro dai condizionamenti e dalle costruzioni umane. La manipolazione di immagini, figure e forme, prese in prestito al mondo reale o virtuale, rivela un insaziabile desiderio di sconfinare in una realtà altra. Nei suoi video astrae e costruisce il mondo, pensa e crea realtà alternative che sembrano manifestarsi oltre i confini spazio-temporali conosciuti. Il tempo corre su binari circolari e la storia si ripete all’infinito in altre dimensioni e in differenti realtà.Il passato, il presente ed il futuro accadono nello stesso momento in universi simultanei che esistono sincronicamente gli uni negli altri, come in gioco di scatole Chinese. Then everything seems to be saying you can Strangis also meet a spectral copy of ourselves that exists in another time and another video of dimensione.Nei Strangis influences converge in the real world and characters virtuale.I One Moment, for example seem to follow in the footsteps of the protagonists of the novels of Jonathan Carroll or the films of David Lynch. As in Lost Highway and Mulholland Drive unwitting actors chosen by Strangis walk along a path far from straightforward. Break down the barriers to space-time and migrate from one size to another as monitoring developments on the tape Möbius.Non dall'Escher too far from the different versions of the Mobius strip and climb and descent, Lino Strangis nastro.La seems to follow the logic of the city that rises and falls, while recalling the work of the Futurist Boccioni, appears to have absorbed the lesson by Escher. The double mirror image of the city, marked by the movement of the car, remember, in going climb and descent, the movement of monks who, in the work of Escher, rise and fall in a cycle of almost infinito.Sembra enter the bizarre logic of a paradosso.Lino Strangis focuses on issues that still seem unresolved and that, as an eternal torment, not only artists but also scientists and philosophers. The relationship between the real and its representation, the time and space, repetition and uniqueness, finite e infinito sono solo alcuni degli aspetti toccati da Strangis. Le sue opere-video sono superfici specchianti che riflettono il mondo visibile ed invisibile. Come affermava Escher nel 1952 “La nostra conoscenza è molto limitata, conosciamo soltanto una parte minuscola del mondo in cui viviamo”2.Strangis svela una realtà che si ripete all’infinito, ora uguale e ora diversa da se stessa, quale soggetto di un gioco di specchi che posti gli uni di fronte agli altri raddoppiano senza fine l’immagine riflessa, in eterno. Ma allora, forse, “realtà è soltanto una parola”3 per il protagonista di Multy Identity Man. Moderno Narciso che si specchia nelle acque dell’inconscio, il giovane incrementa la sua presenza without any supervision. In a kaleidoscopic play of the video the man is multiplied to hear the sound of the orchestra of his ego. His personality coexist. "Each of us is more than one," Pessoa wrote, "is many, is a prolixity of itself" 4. Identical and yet so different from himself, the man shows his multiple identities, which we watch, observe, you can see, but not conoscono.Nasce an inner world where multi-faceted and indecipherable, like a fractal composition, one is the whole and the whole uno.Strangis shows the total and in particular, especially in total. The mood is scrutinizing the different degrees of man, but we can also breaking and rearranging reality. Not content to show us a single individual, a single reality: use all means that the technology puts at its disposal to prove that the points of view are infiniti.Mettendo a strain on the viewer's perceptual capacities Lino Strangis play with reality proposing it from every perspective possible. Enlarged, small, tight, slow down or speed up, the images show the world simultaneously. In No Gravity on the World Match Strangis simultaneously revealing existing profiles of the same event. The rugby players, like armies clashing on a battlefield, they compete on the playground. Bodies collide, overlap, overlook, sometimes creating compositions circolari che si sovrappongono alla forma stessa del pianeta Terra. Strangis svela il conflitto, il braccio di ferro tra l’individuo e il mondo che sempre di più si piega al volere e al potere dell’uomo. Ed ecco che la Terra diventa campo di azione e oggetto di contesa allo stesso tempo.Lino Strangis scruta il mondo e le sue realtà. Ne preleva le immagini e le stravolge per edificare un ordine sconosciuto. Altera lo spazio comune e pone lo sguardo su un cosmo dove nulla può accadere una sola volta e tutto quel che esiste è già avvenuto e occorrerà nuovamente. Il mondo non è che un microcosmo, sembra dirci Strangis, un simbolico specchio dell’universo.
1 Voltaire, Candide, Mondadori2 M. C. Escher, In the eye of Escher, Electa, Milan, 20043 W. Shakespeare, The Tempest, Mondadori4 F. Pessoa, the poet is a pretender, Feltrinelli
Veronica D'Auria Lino Strangis ... Diviner of the beyond I always had the impression that Linus Strangis could see, but in general to feel, something that eluded everyone else, I had confirmation of this by having the opportunity to attend and participate in various stages of his work (from shooting to post-production sound composition) and through this I could have a different point of view, different things. Turning to him I rediscovered neglected the charm of things, entities that populate our world who are too often invisible to bystanders. I went with him into the microworld of ants and bees, I saw scrolling landscapes, rivers, trees and skies, I witnessed the flow of men and machines with new eyes and I could see them again, always different, in that box that houses the bright visions of the world and not solo.Prestare attention to the world around us and which we are part, the mechanisms that regulate and phenomena and entities that inhabit it looking for nullaltro if not knowledge, relationships for the profound joy of discovery but with the certainty that nothing is knowable in its entirety and that our worldview is conditioned first of all by our sense organs and second, but not least, the culture of which we are soaked in so many centuries has been formed. Lino was able to understand me and show me through his audiovision that ours is only possible in one eye and the world and that every living being perceives "reality" differently because he has different perceptual apparatus, we think of the vision Night of the bats or the perception of space-time flies. The reconstruction of the reality that each institution works through the senses, and so the idea of \u200b\u200bthe world that follows, comes from its own special creation and cultural conditioning that you come in contact. Western views homocentric, driven also by capital for the sole consumption of things by reducing them to mere means, has made losing to the relationship with nature and with it his own "being" in the world. Returning to observe the movements of beings and nature we move close to his own being and you understand the modalities and mechanisms that guide all cose.Catturando a brief event, a phenomenon, a fragment of reality Lino through the point of view el'inquadratura (working space), filters (which as the name states have the ability to change reality and / or the perception thereof) and varying the time, manages to bring up what is daily or at least "Already seen" different, other, revealing otherwise invisible aspects and, in addition to lead us in this experience nell'oltre, manages to make us riflettere.I his "visual pictures" are born from a video track of departure that does not last more than a few seconds and "The final work is the result of developments in formal and conceptual visions of the collections" The conceptual dimension is then built from the reprocessing of the event captured (and therefore out of context), understood as a process, which becomes a key time-motion through research and kinetic time / space metaphor, symbol of a situation other, on the existential man (facing questioni ancestrali –chi siamo, dove andiamo- come quelle più attuali –sistemi di potere e suoi strumenti di attuazione) e/o agli audiovisi riflettendo sulla loro materia, sui loro strumenti e sui loro usi.L’autore stesso dichiara “non mi interessa raccontare storie ma creare processi che propongono concetti in forma di metafora”, Strangis sviluppa una ricerca estetico formale sofisticata e coinvolgente assegnando proprio a quegli elementi “spesso degradati dai linguaggi dell’industria a vuota decorazione” il compito di “costruire il senso” di cui il titolo dell’opera costituisce una delle chiavi d’interpretazione offerte dall’artista.Le alterazioni operate sono quindi veri and their "vehicles of meaning" to do this he uses the instruments themselves audiovision (going to act on the perception) and the light box that does not stop with animated video presentation, almost trivial events turned into epiphanies. Using the loop, the artist "puts" in-world presence, making them more "real", thus making them prosecuted in spacetime (tend) to infinity. Strangis ones that gives us the 'individual experiences at the way ", not interested at all "hoarding impulses to confuse but to concentrate to shake." This is in contrast to the highly specific character of television today, a victim power and consumption system. As he relates, "the television bombards us with images and sounds in fast and uninterrupted sequence, perceptions and information come and go so fast as to leave the natural processing time, are so drained of their value of lived experience, the His works are "single events and permanent" (as they are designed to get you in the loop and hence to establish a permanent presence in space and time) by the powerful hypnotic character ... The way it almost always comes at a later time while the first act a purely sensory involvement as a mix of strong evocative images from in "chemical reaction" with a strong psychoactive soundscape that can vibrate mente.Un remote areas of the fundamental nature of his work is also the relationship established with the site, with the environment becomes part of the work contributing to the construction of meaning. This is true both in cases where the artist captures images and sounds from the place where it will install the work (weaving then relations between the "reality") is engaging in the work space, with its enveloping sound "space" and the lights of his "visions". Strangis creates an environment where total immersion, in which the audiovision expand generating a total size altra.Sono grateful to Lino that despite the many difficulties that he faced on his way (and I assure you have been so many), has decided to continue this difficult road continuing to give us his experiences audiovisual able to open some of the most inaccessible doors of the mind and knowledge.
Alessandra Troncone
audiovision Audiovisual and the work of Lino Strangis
There are two distinct but complementary components in the work of Lino Strangis, which are linked to different levels of reading and to fruition: the use of video - with all the processes that contribute to its creation and manipulation - and the place designed for presentations or, rather, to accommodate him. The exhibition of Lino designed for the Hall insists on a double aspect, respecting the modus operandi that has been consolidated in recent years, the gallery space is transformed into an unusual camping area, with the curtain calls do architecture / containers for video esposti.Un 'peaceful occupation that attracts them - perhaps less peaceful - that were the quid of projects such as Travellers and Video Signals Art Mini-Store and they were already in nuce in the exhibition Attendance video-sonic Castle of the cerebellum. A survey of sites that perfectly with what is the poetry of Lino, based on the mode of perception in relation to the context and experience of Cervelletta soggettiva.Proprio Castle - where I have seen for the first time a work of Lino installed - the message video is being strengthened by the surrounding space, an underground chosen as a metaphor for the sterility of a unilateral approach to the world. The narrow place, devoid of air and light, are vented through the Video-Carillon located in the hole, a link with the outside world and a chance to watch oltre.Anche The voice of the unheard, presented just where the protagonists live and are unlistenable compared with the daily problems of existence hardship, proposes the immediate relationship between content and container, identifying with the same lifestyle of the occupants, the artist has worked to restore a fresco with audio once again showed the steel connection to the place where it was conceived installato.La and willingness to go beyond the ordinary eye is the leitmotiv of this time in video making in the choice of container acts to accept them just think of the Mini-Store Video Art Project, where art brought in commercial spaces crept into the lives of innocent bystanders and passers-by, called to dwell on the beauty of the flight of swallows protagonist of the audiovisual channel Sky-Noise ... caos.La Harmonies of research on metaphorical processes so that the title to this new show takes different roads that intersect at several points, helping to build a complex background but that does not lose its immediacy of perception. Behind all this there is a strong awareness of the artist wanted to work on reality, be it a natural setting with a metropolitan scenario. The intent is not to return it faithfully, but rather to suggest its own interpretation through the medium itself, which is then completed with the receipt by spettatore.È for this reason that the post has a fundamental role in the process of constructing meaning, and the assembly - but also the reworking of digital sounds and images - regains its inherently political and social, making a filter than one that is simply made of the real. A process that not only links the work of Lino subversive force of the first avant-garde research but places it in the right of artists ranged from Nicolas Bourriaud in his post-production, subtitle emblematic of how art reprograms the world. Flax is also a Strangis websurfer, even a tvsurfer a moviesurfer a realitysurfer. Semion is a constant in his signs and move between different channels, extrapolating what he needs to offer its (Audio) worldview. Her videos are so non-narrative but evocative of a given contingency space-time, extending the experience through tracks is also the complexity involved in the work, as well as act as a cause for reflection on the coexistence of the concepts of temporary and permanent . In choosing the 'boxes' is thus reiterated the sense of the operations performed during processing and post-production of his video: the works on real data appear in the product so much that in his contesto.È from the knowledge of audiovisual equipment that creates the Lino Strangis its audiovision; the site or structure is responsible for amplifying the power of a message already clearly implied in mezzo.sonore hypnotic stress or sometimes counteract the purely visual component. Like Dosage of danger, where the audio track presses increasing the wait for something that will not, alter the function of film soundtrack usually designed to emphasize the action. Metaphors Lino Strangis become cause for reflection on issues invest the identity and relationship with the other purposes in the form as in the recent multi-faceted identity as: the fragmentation of the subject are so many layers of meaning and as many perceptions of the subject, presented in simultaneous images they see in a contemporary man Vitruvian immersed in the colors acids of digital alterations. The metaphor of the multiplicity inherent nell'unicum that is associated with the transience of human passage in one moment, visually express the unstoppable hustle and bustle in the station Termini, and then they both appear to converge in the metaphor that relates to the infinite and complex life cycles, condensate A short video in the time of death and life. Recently installed in an igloo, it becomes another example of the working relationship with space and the importance it assumes in the process of attribution of meaning. "Frozen" in the polar structure, the fossil Lino is there to identify the stratification which is also the complexity involved in the work, as well as act as a cause for reflection on the coexistence of the concepts of temporary and permanente.Nella choice of 'boxes' is thus reiterated the sense of the operations performed during processing and post-production of his video: the works on real data appear in both the product contesto.È from his knowledge of audio-visual equipment that creates its audiovision Lino Strangis; the site or structure is responsible for amplifying the power of a message already clearly implied in the middle.
