Giulia Simi

numero71_Perspective 01

Perspective Dizziness. Francois Vogel’s Images

FranÁois Vogel†is a French photographer and filmmaker. Each time he is defined in many different ways: ìBaroque Wizard of Videoî [2], or ìAstronaut of Image/sî†[3]. He easily moves between the world of communication as well as the independent video scene by producing commercials, music videos and other award-winning shorts known on an international scale.
numero70_ Invideo 01

Invideo XXI. Shifting Distances Of An In-motion Look

At nine o'clock on the morning of November 18th 2011, the lecture theatre of the European Design Institute of Milan was crammed with students. Eyes were on spectacular images; hands raised to book questions; ears pricked up to carefully listen every detail describing a rigorous, scientific and almost obsessive practice, but not less visionary. 'Lectio magistralis' by François Vogel, video-artist and French filmmaker, opened the exhibition dedicated to him during the XXI° Invideo Edition, entitled Shifting Distances (16-20 November), festival of 'video e cinema oltre' (video and cinema beyond), directed by Sandra Lischi and Romano Fattorossi.
numero65_ Staging Utopia 01

Staging Utopia. Stage Archive: Intervew To Rosa Barba

Stage Archive is the title of an exhibition cured by Chiara Parisi and Andrea Villani shown at Mart (Museum of Modern and Contemporary Art in Trento and Rovereto) until August 28. In this exhibition Rosa Barba explains and reinterprets the historical archives of the museum in which futurist documents and works are stored
numero63_ Net Art Exhibitio 01

Net Art At Exhibition Centers. Marta Ponsa And The ‘jeu De Paume’ Case

We have had the pleasure of interviewing Marta Ponsa, who is in charge of the artistic and cultural projects of Jeu de Paume, and she has been taking care of planning the virtual exhibition space since 2009. Since she surely represents one of the most interesting voices to listen to on the relationship that digital art can develope with contemporary art institutions, we asked her some questions about the history and the activity of Espace Virtuel.
numero57_Videosculptures 01

Videosculptures / Videoplanets. Art And Science In Katja Loher’s Practice

A survey between the real and the virtual, one which inhabits the intermedia territories, is spreading across museum exhibition spaces, housing works of artists who also develop their repertoire outside the Internet. This could describe curator Elena Giulia Rossi's latest exhibition at Maxxi, Rome: NetinSpace adds to the long conversation on Net Art and its complex relationship with a museum which has housed many such works previous to archistar Zaha Hadid's fascinating exhibition.
numero55_Lookat Festival 01

Lookat Festival. Between Interactivity And Contemplation

It is more and more evident that contemporary culture and art are able to communicate to a public which goes beyond the simple niche of professionals. It is also difficult to ignore the fact that the new media offer a great contribution to this phenomenon. Lastly, it is a matter of fact that the vernissages of exhibitions, events and theme festivals are more and more crowded. However, when this happens in small towns, often accused to be unable to satisfy the requests and practices of electronic and digital art, it means that the 'long queue' has already created a positive effect which is impossible to ignore.
numero54_Lev Manovich 01

Lev Manovich: Software Culture. The Common Grammar Of Media

Professor of New Media Art at the University of California, both artist and graphic designer, Lev Manovich does not need further presentation. His first book 'The language of New Media' (it came out in Italy in 2002 in the Olivares Edition) was one of the main reference points for many theorists, artists, communicators and designers, that were already well settled down in the 'new technology' sector. Ten years later, thanks to the digital diffusion, grammar was already consolidated in the capitalism era and Lev Manovich decided to analyze and study that which today is seen as our 'interface with the world'(1): software.
numero52_Absence presence 01

Absence/presence. (im)possible Images By Moira Ricci

The greeks often confronted death in a shy way. Whatever they had in front of them was in their past. That is how I have lived my life, not retracing my own life but the life of a person that I had loved. (1). This is how Roland Barthes describes in La camera chiara the moment of his mothers death, who, looking through the pictures of his mother throughout the years, tries to meet her again, to find her in some way. This is how Moira Ricci proceeded, she later confirmed that she had been inspired by Barthes, which is obvious in her most famous project called 20,12,53-10,08,04 (2) produced after her mother's sudden death.
numero 51_Quadrilateral 01

Quadrilateral Biennal 2009. Angles And Intersections

Angoli e intersezioni (Angles and intersections). This is the title of the third edition of the Biennial Quadrilateral (December 8th to January 31st), also known as the Croatian Biennial, this year devoted entirely to new media and their influence on local and global cultures.
netart_netart02

Plots In The Net: Boone Oakley And Web Storytellers

Once upon a time there was an internet site, an amount of web pages linked one another and housed in a clearly identifiable space which could be reached by a precise address. Once upon a time there was also the html - which later changed into xhtml - the language behind the hypertext system that can organize and make information intelligible, mainly in pictures and texts, of which web pages are composed. Yes, once upon a time.
netart_giuliasimi02

The Aware And Creative Technology Of Goto10

The collective GOTO10 (the answers of this interview were elaborated with the name GOTO10 by Karsten Gebbert, Claude Heiland-Allen, Aymeric Mansoux, Marloes de Valk and Thomas Vriet), active internationally for years in the technological activist environment, is a good example of how a group of programmer-artists manages to face and win against the swamps of our time through a creative, aware and thought-out use of technology. I interviewed them so that they could tell us about some aspects of their complex project.
newmedia_giuliasimi02

Green Platforms, Making Ecological World

When I got into the hall of Palazzo Strozzi for the opening of 'Green Platform, the latest exhibition organized by Centro di Cultura Contemporanea di Firenze (Centre for Contemporary Culture in Florence), the cue waiting to get in was unexpectedly long. I am not used to it. Contemporary art, outside the certain circuits and without high-sounding names, can hardly attract the big crowds.
netart_giuliasimi03

Cristophe Bruno: From Dada To Google

Christophe Bruno - whom I previously interviewed in Digimag 25, is one of most known net.artists worldwide. Lucid, ironic, desecrating, he has faced since a long time issues related to language commodification and control by late-capitalism, from Society of the Spectacle to The Age of Access.societˆ dello spettacolo a l'era dell'accesso
netart_giuliasimi03

(Italiano) Il Tempo Delle Immagini Di Carlo Zanni

(Italiano) Data Cinema. Cos" Carlo Zanni, vivace artista concettuale capace di mixare con grande sapienza vecchi e nuovi media alternando ironia e poesia, definisce la pratica da lui stesso intrapresa che mira a dilatare, espandere e ridefinire il cinema attraverso la rete e i passaggi di informazione ad essa collegati.
videoart_giuliasimi05

(Italiano) L’immagine In Movimento Tra Passato E Futuro

(Italiano) Terre e cieli': questo il titolo dell'ultima - diciottesima - edizione della rassegna Invideo, divenuta ormai appuntamento immancabile per chi, in Italia, voglia saziare la sua fame di video e cinema sperimentale senza essere obbligato a prendere un aereo.
videoart_giuliasimi01

(Italiano) Luce, Tempo, Movimento: Studi Di Aschauer

(Italiano) Una camera fissa posizionata di fronte al mare: inquadra un punto all'orizzonte, laddove il sole scompare ogni sera. Lo fa ininterrottamente, 24 ore al giorno per 7 giorni di seguito, durante il solstizio d'inverno del 2007. Siamo nell'isola greca di Syros, su una collina chiamata Oros Harasson, letteralmente 'montagna che inscrive la direzione della luce' .