The big art & technology exhibition Digital Life 2013 come to its fourth edition, organized by Romaeuropa Festival, with the title Liquid Landscapes. The show which gave life to the rooms of MACRO Testaccio and MAXXI in Rome from the last 10th of October to 1st of December and brought to Italy twenty seven art pieces by national and international artists, selected by the artistic commitee leaded by Monique Veaute, Alain Fleischer and Daniele Spanò.
Multimedia installations, sonic landscapes, interactive artworks, meetings in which, according to Veaute and Spanò ” it is the landscape with its changes and evolution which is the common denominator of this latest edition of Digital Life. Technological evolution and scientific research have given rise to an awareness of the territory in which we live (clean energy, renewable sources, eco-sustainability) and the landscape too. As does the technological sector, also the artistic field makes use of a series of instruments to conduct research and experimentation and which are able to give us a wider vision, extending the perception of the individual to the surrounding environment. It is precisely these new instruments which permit a deeper understanding and know-how of the environment and the landscape”.
We didn’t want to write te classic review of the exhibition, here at Digicult. The typical analysis of the exhibted artworks, which even included such important artists like Aurelien Vernhes e Lermusiaux, Carlos Franklin e Roque Rivas, Ryoichi Kurokawa, Laurent Mareschal, Michale Boganim, Alexander Maubert, Mattia Casalegno, Marco Maria Scifo, Robin Rimbaud, Pietro Babina, Zhenchen Liu, Devis Venturelli, Du Zhenjun, Carlo Bernardini, Roberto Pugliese, Donato Piccolo, Momoto Seto, Mihai Grecu, Paul Thorel and Quite Ensamble.We suggest you to make some easy online research about it, due to the huge success of the event, and to check the online catalogue that you can download here: http://romaeuropa.net/images/pdf/dl13web.pdf
We simply preferred to talk directly to the curator Daniele Spanò, to discuss about the curatorial aims leading the exhibiting process, starting from the relevant subject of this new edition of Digital Life.
About that, Spanò gave us an interesting critical point of view, making clear how the exhibition is based on elements like “research and experimentation, managing to extend the perception and the experience towards the space that surrounds us. Through these new media – he underlined – presented and represented by means the digital art, we could get a new and deeper knowledge of the environment and of the landscape”.
So, the story plotting by Daniele Spanò begins from the change. “The new frontier of digital art is intimate and thoughtful. And our awareness that technology is at the service of everyday life is deeper and calm. Through the digital art – and I think it was understandable thanks to this exhibition – what often is not of immediate comprehension is amplified and more visible. All this brings us to a deep examination of the world around us and it makes us ‘actors’, sharing in situations that we otherwise would not have experienced. Like the work of the Quiet Ensemble, that engaged us into sounds and perceptions not belonging to the humankind. In short, a more scientific approach that, in the meantime, tries to catch the spectator’s feelings and emotions.”
Ludovica Amoroso: Daniele, can we say that are media promoter of this kind of fusion, bringing with them a more complex view of things?
Daniele Spanò: Surely. And they are more and more. On one hand, the approach towards the digital art is more poetic and less ‘frantic’ in general, but on the other hand, the mixture of different media leads to an extension of reality and then to an ‘augmented perception’. As in the work of Alexandre Maubert or as in that of Aurelien Vernhes Lermusiaux.
Ludovica Amoroso: This exhibition was an inquiry of artists about the landscape, that is shown almost by unanimity as catastrophic, especially looking at the future. There are points of view of urban representations. Some of them look like jokes, artefacts, ghosts of places without any belonging. Others seem suggestions. But everything is true…
Daniele Spanò: It was just shown through far, different, also distorted perspectives… It’s the representation of ‘the visible city’. For example, showing us Shanghai, Buenos Aires or New York, in “The world you know” section, through historical, geographical and sensorial data, it’s a metaphor for the functionality of the urban architecture. Or through the redesigned by technology landscape, in “The world you own” section, overlapping virtual and real spaces. Like the Donato Piccolo‘s work, an air sculpture moving in relation to the frequency of the external noise. It’s an invitation to reflect on the emotional aspect of this event…
Ludovica Amoroso: Where dis the choice of telling and representing this “liquid landscape”, like the water, changeable, malleable, modifiable, come from?
Daniele Spanò: It come from a long collaboration, then a partnership, with the center e Fresnoy-Studio national des arts contemporains‘, international excellence for artistic production linked to the digital world, which released the project with Romaeuropa.
Ludovica Amoroso: A kind of center for production and training that in Italy there isn’t. Does this highlight a gap that already exists about the representation of our country in the European cultural circuits?
Daniele Spanò: For Italy is very difficult to be present in the important cultural places, because our institutions don’t act for the artists. What is missing is especially the courage to convey funding, investing in our talents. Talking about the partnership again, ‘Le Fresnoy-Studio national des arts contemporains’ trains about twenty professionals every year. So they gave us a database with names of the artists and we choose some of them according to the exhibition features for this new edition. With the wish, one day, to be also able to offer an equally substantial reservoir of artists representing art in Italy and in the world. In our country, I confirm it, there is no center for digital production. Romaeuropa hope to be able as soon as possible to fill this gap through new projects, including the creation of a center for training and production similar to the French one.