The myth of Carmen relives in a new feminist short film directed by Gabriella Parisi

Carmen by Gabriella Parisi – International Women’s Day #BeBoldForChange – Original Soundtrack by Alessandro Porcella from Gabriella Parisi on Vimeo.

Carmen is the new short film written and directed by Gabriella Parisi, the story is loosely based on the novel by Prosper Mérimée published in 1845 from which is also ispired the unforgettable and acclaimed opera by Prosper Mérimée.
The original soundtrack is composed by Alessandro Porcella, musician, film composer and music producer, who is been nominated for numerous international awards. In the past, he has worked together with the artist for the soundtrack of Fly on the blue side and Over Game, this last exhibited at the 54th International Art Exhibition, La Biennale di Venezia, in 2011.

The character of Carmen, according to Gabriella Parisi, embodies the prototype of an independent female personality full of passion which is inherently loyal only to the idea of love and freedom, not to her men and to the social rules.
In addition, Carmen is a character so different from those sketched by Ibsen with his Nora, in A Doll’s House and Alexandre Dumas fils, in La Dame aux Camélias (literally The Lady of the Camellias, commonly known in English as Camille) with Marguerite , much to highlight all the signs of a contemporary female stance against the dictates imposed by the “male-dominated” thought which reduces love at mere possession, leaving anything margin of freedom to woman.
The tragic conclusion of Carmen’s life is the swan song of a destiny from which couldn’t escape but at the same time is an exaltation of the supreme value of freedom to which Carmen doesn’t want to give up not even in front of the specter of death, sacrificing her own life.

Carmen by Gabriella Parisi doesn’t aspire to be faithful to novella of Mérimée but to idea of expression’s freedom, a freedom that is not wound on a single meaning but which dissects, in a frantic search of truth about the meaning of reality, multiple interpretations and images, amplifying the point of view. In addition, the art film is steeped in the poetic spirit of Rimbaud‘s Illuminations and, in some respects, is intimately interconnected to his research and vision.
The diegetic rhythm of Carmen runs on the tracks of metafiction, with images’s accelerations of postmodern matrix and contemplative brakings aimed at the “deconstruction” of the sense, reflecting on the same reflection, with a restitution of a highly imaginative storytelling, totally renewed and in momentum cathartic, aiming to plunge into the deepest meanderings of thoughts which animates the acts of Carmen. Ultimately, Carmen suggests “potential finals” that open the scenario on a reality in progress which gets rid of its end and that is modeled, however, with the viewer’s sensitivity and conceptually referring to ontological freedom which tries a deeper meaning in life and to be reunited with the transcendent dimension.

Read more:

http://www.gabriellaparisi.com/

Talk to me! The collective narration is like the mythos language #catalysts

Parla con Me: design e la comunicazione tra le persone e gli oggetti
Paola Antonelli

“(…) E lo stesso con il” segno @ “che abbiamo acquisito alcuni anni fa. Fu il primo esempio di un acquisto di qualcosa che è di dominio pubblico. E quello che dico alla gente, è quasi come se fosse una farfalla che vola da e abbiamo catturato l’ombra sul muro, e solo stiamo mostrando il shadow.So in un certo senso, stiamo mostrando una manifestazione di qualcosa che è veramente importante e che è parte della nostra identità, ma che nessuno può avere. Ed è troppo lungo da spiegare l’acquisizione, ma se volete andare sul blog MoMA, c’è un lungo post dove spiego perché è una così grande esempio di design. ” Paola Antonelli

Ho apprezzato molto l’intervista con Paola Antonelli di Randall Packer su Talk to Me mostra, uno spettacolo innovativo che ha rivelato il ruolo della comunicazione in arte contemporanea e design.
Questa intervista e il Catalizzatori corso mi hanno fatto pensare molto, innescando off riflessioni sul rapporto tra arte, tecnologia e social network. A mio parere, social network e comunicazione online sono l’esternazione del nostro spirito del tempo. Sono un grande happening e narrazione collettiva.
L’arte non è interessato a costruire i codici sulla stabilità, si sofferma sulla indicibile, a tempo indeterminato, il caos, tipico della condizione di instabilità. Paradossalmente, la stabilità del pensiero deriva dalla instabilità del linguaggio comune, la pubblicità, la musica pop, chat, blog, social network, attraverso i quali emerge in forma simbolica una immagine abbozzata, ma non ancora definito, che esprime lo spirito del tempo.
L’ le parole sono dinamici, metaforico, allegorico e allusivo. Essi racchiudono una simbologia straordinario, secondo Wittgenstein, in ogni parola c’è un simbolismo nascosto che rivela la contraddizione, il non detto, l’indefinito. Dobbiamo mettere al “auscultazione” la nostra attenzione sulle parole perché danno voce a tutti quei rumori che non possono essere catturate da un metodo logico-matematico ordinario, che emerge al di là di tutti quei processi che non sono imbrigliati di un ragionamento logico.

I Mythos, che emerge come un linguaggio di immagine, è il preambolo di quello che sarà perché contiene la verità si è svolto in forma di immagini.
Secondo Platone con la lingua logos e mythos lingua, possiamo dire la stessa cosa: il logos è la parola nel suo formalismo astratto, il mythos è il linguaggio della narrazione. Il logos è il linguaggio del logico e rifiuta il pathos mentre la lingua mythos è caratterizzato dal pathos.
linguaggio della narrazione non è degradata, ma esprime la verità, la “voce fundi” del tempo attraverso le metaphorizations e per la sua capacità di affermare la verità, per due millenni, si è preferito il linguaggio logos. La storia ci permette di capire la nostra vita e lo spirito del nostro tempo attraverso la metaforizzazione degli altri.

About: Pour Your Body Out by Pippilotti Rist #catalysts

Pour Your Body Out by Pippilotti Rist erases the boundary between art and entertainment. The artist captivates the viewer, full of all sorts of provocation media, working on body perception, the unconscious, the size of sensory and emotional experience.
The screen and space are like an infinite and immersive dimension that incorporate the viewer into the projection’s flow until to open his vision. It’s like a big window that opens up on a parallel world made of the same stuff as dreams.
Is it not Pour Your Body Out by Pippilotti Rist a contemporary Panorama?

In 1787 Robert Barker patented The Panorama, the pre-movie 360º painted spectacle.

Personal Assessment of Media #catalysts

Catalysts: Artists Creating with Video, Sound, and Time, the MoMA Course by Randall Packer helped me a lot to reflect on our role in social networks and in various media, considering our role more as an experience of collective narration and as a social happening of contemporary and artistic mold.
We’ve become content’s producers and the Nam June Paik’s lesson resonates still alive today: everyone’s a broadcaster. In New York, Nam June Paik with his Porta Pack has experienced shooting outdoors and made the first broadcast run by an artist focused on a chaotic moment in New York: the day of Pope Paul VI visit in NYC. He showed the video the same evening in Greenwich Village, the Cafe Gogo, virtually live. Paik was the first of artists who made a real art event of the video’s report.
My connection with social networks has always been confrontational, perhaps because of need to protect my privacy.
Now I re-evaluated my position on that and I think we must be present at the forefront on the social networks for two simple reasons: to clarify our point of view and to convey the meaning of our thought in the best way possible.
Technology has been of great help to me both as regards the production aspect and both for what concerns the storage and communication of my art. I record my art works with the video camera and than I share them online on Instagram or others social networks, I like to remix my art and to make it transmedial.

I remember that I have always documented everything, even when there was a movie stills photographer where I worked, I liked to shoot everything and have my own point of view.
For years I carried my video camera with me, in my bag, for the need to document what happened around me.
My Panasonic camcorder that I took in 2006, has allowed me to produce and document a lot of works and therefore it is my analogic object of the heart, which I keep as a relic.
I still remember a video that I’ve filmed in 2009, the storyboard that I’ve written was ambiented in the subway in Rome. My video wasn’t a commercial video, however, the Subway Direction had refused permission because it demanded a lot of money to approve it, but I didn’t want to give up the project or to change my storyboard.

I still remember the excitement while filming in Rome Metro. I was aware that if I had been surprised to shoot with my video camera the security men would have seized my videotape and maybe also my video camera ..
It’s been a few years since I shot my short film, but now, turning to the subway I see everyone to film everything, the privacy is dead, but maybe there is a positive side: if anything happens, it’s possible to acquire new trials because today our view is expanded, it’s stereoscopic: we’re all under surveillance but we also can monitor the others.
The video camera is my third eye, with which I record everything: everyday events and those things related to my work. I replaced my Panasonic video camera with an iPhone and a Samsung Tab 3, most technologically advanced.
And I think it’s important to document everything because otherwise a piece of reality would not have existence, it could be the access key that it could return an important point of view to better understand the contemporary reality.

“I have been impressed with the urgency of doing. Knowing is not enough; we must apply. Being willing is not enough; we must do.”
Leonardo da Vinci