www.panzettiticconi.com http://cargocollective.com www.panzettiticconi.com Thu, 30 Aug 2012 09:25:17 +0000 http://cargocollective.com en Sala del Mappamondo http://cargocollective.com/panzettiticconi/Sala-del-Mappamondo http://cargocollective.com/panzettiticconi/following/panzettiticconi/Sala-del-Mappamondo Thu, 30 Aug 2012 09:25:17 +0000 www.panzettiticconi.com 3983957 <img src="http://payload84.cargocollective.com/1/6/211919/3983957/2_MG_3508a_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/2_MG_3508a_o.jpg" data-mid="20840588" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/1_MG_3502a_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/1_MG_3502a_o.jpg" data-mid="20840577" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Senza titolo-4_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Senza titolo-4_o.jpg" data-mid="20844717" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Senza titolo-3_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Senza titolo-3_o.jpg" data-mid="20844706" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Senza titolo-1 copia_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Senza titolo-1 copia_o.jpg" data-mid="20844686" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Senza titolo-2 copia_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Senza titolo-2 copia_o.jpg" data-mid="20844695" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Senza titolo-5_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Senza titolo-5_o.jpg" data-mid="20844724" border="0" align="left"/> NUDA PROPRIETA', libertà fragile e società dell'effimero Curated by Roberto D'Onorio Via Sardegna n.14 int.4, Rome Documentation Sergio Salomone La Sala del Mappamondo (World Map Room) is a feature room found in many aristocratic houses and historic buildings in Italy. Typically, these rooms feature a display of geographic maps and planispheres but are also used as libraries, boardrooms and for the accommodation of council and official meetings. The main reference for this work is the 'Sala del Mappamondo' in the Farnese Palace of Caprarola, north of Rome, in which representations of geography and astronomy are featured in the fresco by Giovanni Antonio da Varese, circa. 1574. The collection of maps depicted in the Farnese Palace represent the 'known world' at the time in Europe and with the magnificence of stucco and grotesque ornamentation is considered to be a celebration of the scientific knowledge that was acquired during the 16th century. The ornament maps The installation is composed of four different maps. One is made of soil; it extends from the floor to encompass the entirety of the room, two are printed on tracing paper and the third is a video piece of seven hours, in which the creation process is documented. The matrix of the maps have been extracted from topographical maps of Italian cities, precisely, the parts of the cities in which the urban structure of the Castrum can be found. The 'Castrum', a constitutive element of Rome's territorial occupation and colonization strategy lends its name from the Roman military camp. This urban structure, in the Hippodamian Greek model, represents a trace of an effective territorial organization method that was refined within Roman culture, to a rigorous science of occupation and expansion. The matrix of the extracted topographic map is repeated and symmetrically composed according to a scheme that relates to the aesthetics of ornamentation. The ornament-map collection, no longer a contingent of scientific and exact functionality, is rather a representation that describes not the real and existing geographic space, but the propagation of an obsessive urban ideology that literally extends the project of transformation, spatial expansion and standards of conquest into space. <img src="http://payload84.cargocollective.com/1/6/211919/3983957/mappa2-3perSITO_905.jpg" width="905" height="590" width_o="2048" height_o="1336" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/mappa2-3perSITO_o.jpg" data-mid="20846086" border="0" align="left"/> La sala del mappamondo, ricorrente in molti palazzi nobiliari e storici, è la stanza adibita alla raccolta ed esposizione di mappe geografiche e planisferi. Ospita generalmente una biblioteca o funge da luogo di rappresentanza accogliendo riunioni e consigli ufficiali. Fonte d’ispirazione più importante per questo lavoro è la Sala del Mappamondo del Palazzo Farnese di Caprarola le cui rappresentazioni geografiche sono state affrescate intorno al 1574 da Giovanni Antonio da Varese. La raccolta di mappe geografiche e stellari affrescate nel Palazzo rappresenta tutto il mondo fino allora conosciuto in Europa e celebra con la magniloquenza delle decorazioni in stucco e a grottesche le conoscenze scientifiche acquisite nel XVI secolo. Le mappe ornamento L’istallazione è composta da quattro mappe: una è realizzata in terra e si estende per tutto il suolo della stanza; due sono stampate su carta lucida; un’altra è rappresentata in un video di sette ore che ne documenta la realizzazione. Le matrici delle mappe sono estratti di piante topografiche di alcune città italiane, precisamente l’area che conserva e rivela nell’attuale urbanistica, il primo stadio di occupazione e colonizzazione del territorio, il castrum militare. Tale assetto urbanistico, sul modello greco Ippodameo, rappresenta la traccia di un efficace metodo di ordinamento territoriale che affinerà, nella cultura coloniale romana, una rigorosa scienza di occupazione ed espansione territoriale. La matrice, la mappa topografica, viene ripetuta e ricomposta simmetricamente secondo uno schema che ne fissa le condizioni di un potenziale uso ornamentale. Non più attinente alla funzionalità della rappresentazione scientifica, esatta e verosimile la raccolta delle mappe-ornamento non descrive lo spazio geografico reale ed esistente, ma riproduce ossessivamente la struttura formale di impianti urbani che si estendono nello spazio come progetto di trasformazione, espansione spaziale, stendardi di conquista. <img src="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 16.55.15_905.png" width="905" height="492" width_o="2048" height_o="1114" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 16.55.15_o.png" data-mid="20846222" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 16.58.11_905.png" width="905" height="491" width_o="2048" height_o="1111" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 16.58.11_o.png" data-mid="20846252" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 16.59.19_905.png" width="905" height="491" width_o="2048" height_o="1111" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 16.59.19_o.png" data-mid="20846272" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 16.59.58_905.png" width="905" height="492" width_o="2048" height_o="1113" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 16.59.58_o.png" data-mid="20846290" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 17.02.52_905.png" width="905" height="491" width_o="2048" height_o="1112" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 17.02.52_o.png" data-mid="20846313" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 17.04.00_905.png" width="905" height="491" width_o="2048" height_o="1112" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 17.04.00_o.png" data-mid="20846356" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 17.04.41_905.png" width="905" height="491" width_o="2048" height_o="1112" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 17.04.41_o.png" data-mid="20846388" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 17.06.03_905.png" width="905" height="491" width_o="2048" height_o="1111" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 17.06.03_o.png" data-mid="20846455" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 17.06.53_905.png" width="905" height="491" width_o="2048" height_o="1112" src_o="http://payload84.cargocollective.com/1/6/211919/3983957/Schermata 2012-08-28 a 17.06.53_o.png" data-mid="20846513" border="0" align="left"/> Mappa n. 4 - Pavia viedeo frames length 7 hours by Ginevra Panzetti and Enrico Ticconi photography Sergio Salomone with the support of Hochschulübergreifendes Zentrum Tanz Berlin and Hochschule fuer Grafik und Buchkunst / Leipzig 2012 NUDA PROPRIETA', libertà fragile e società dell'effimero Curated by Roberto D'Onorio Via Sardegna n.14 int.4, Rome Documentation Sergio Salomone La Sala del... Paesaggi con figure / Landscapes with figures http://cargocollective.com/panzettiticconi/Paesaggi-con-figure-Landscapes-with-figures http://cargocollective.com/panzettiticconi/following/panzettiticconi/Paesaggi-con-figure-Landscapes-with-figures Tue, 28 Aug 2012 10:31:50 +0000 www.panzettiticconi.com 3983792 <img src="http://payload84.cargocollective.com/1/6/211919/3983792/Sito2_905.jpg" width="905" height="221" width_o="2048" height_o="502" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Sito2_o.jpg" data-mid="20837818" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/Sito1_905.jpg" width="905" height="221" width_o="2048" height_o="502" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Sito1_o.jpg" data-mid="20837896" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/Sito3_905.jpg" width="905" height="221" width_o="2048" height_o="502" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Sito3_o.jpg" data-mid="20838123" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/Sito4_905.jpg" width="905" height="221" width_o="2048" height_o="502" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Sito4_o.jpg" data-mid="20838147" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/Sito5_905.jpg" width="905" height="221" width_o="2048" height_o="502" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Sito5_o.jpg" data-mid="20838168" border="0" align="left"/> Tredici immagini fotografiche rappresentanti paesaggi naturali d’ispirazione romantica sono proiettate su uno schermo visibile dall’interno e dall’esterno dello spazio attraverso una cornice opaca su vetro. Al susseguirsi dei paesaggi è costantemente sovrapposta una griglia numerata. Tra la proiezione e lo schermo le due figure si inseriscono nel quadro eseguendo una serie di gesti liberamente ispirati ad un archivio di gestualità retoriche. L’inserimento prevede un tempo di assestamento che permette di stabilire le esatte coincidenze tra l’ombra e la griglia. Il compito è quello di allontanarsi fisicamente dall’immagine cercando di mantenere invariate le proporzioni nel rapporto tra ombra e griglia o trasformare il gesto retorico secondo la struttura ortogonale della griglia stessa. Il suolo dello spazio espositivo è ripartito da zone rettangolari di terra, predisposte ortogonalmente in linee parallele ad un “cardine” maggiore non ortogonale rispetto alla pianta architettonica del luogo. La ripartizione del suolo delimita le possibilità di spostamento, localizzando lo spazio performativo e quello di fruizione. <img src="http://payload84.cargocollective.com/1/6/211919/3983792/1_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/1_o.jpg" data-mid="20839359" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/3_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/3_o.jpg" data-mid="20839943" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-6_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-6_o.jpg" data-mid="20844279" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-5_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-5_o.jpg" data-mid="20844272" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-4_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-4_o.jpg" data-mid="20844264" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/15_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/15_o.jpg" data-mid="20840017" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-3 copia_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-3 copia_o.jpg" data-mid="20844257" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/18 copia_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/18 copia_o.jpg" data-mid="20840036" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/19_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/19_o.jpg" data-mid="20840051" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-2_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-2_o.jpg" data-mid="20844248" border="0" align="left"/>{ 25}}<img src="http://payload84.cargocollective.com/1/6/211919/3983792/21_905.jpg" width="905" height="632" width_o="2048" height_o="1430" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/21_o.jpg" data-mid="20840077" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/22_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/22_o.jpg" data-mid="20840084" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/23_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/23_o.jpg" data-mid="20840090" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-1 copia_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/Senza titolo-1 copia_o.jpg" data-mid="20844242" border="0" align="left"/><img src="http://payload84.cargocollective.com/1/6/211919/3983792/25_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload84.cargocollective.com/1/6/211919/3983792/25_o.jpg" data-mid="20840102" border="0" align="left"/> MPAxB 2012 // Ginevra Panzetti & EnricoTicconi tamtamART, Berlin 2012 Documentation Ya-Wen FU, Yun-Ting HUNG Tredici immagini fotografiche rappresentanti paesaggi naturali d’ispirazione romantica sono proiettate su uno schermo visibile dall’interno e dall’esterno... CARDINE http://cargocollective.com/panzettiticconi/CARDINE http://cargocollective.com/panzettiticconi/following/panzettiticconi/CARDINE Sat, 10 Mar 2012 08:21:16 +0000 www.panzettiticconi.com 2975994 <img src="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1637.JPG" width="355" height="533" width_o="355" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1637_o.JPG" data-mid="15153834" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1641.JPG" width="355" height="533" width_o="355" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1641_o.JPG" data-mid="15153836" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1612_905.JPG" width="800" height="533" width_o="800" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1612_o.JPG" data-mid="15153828" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1650_905.JPG" width="800" height="533" width_o="800" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1650_o.JPG" data-mid="15153841" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1661_905.JPG" width="800" height="533" width_o="800" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1661_o.JPG" data-mid="15153843" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1662_905.JPG" width="800" height="533" width_o="800" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1662_o.JPG" data-mid="15153846" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1666_905.JPG" width="800" height="533" width_o="800" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1666_o.JPG" data-mid="15153850" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1685_905.JPG" width="800" height="533" width_o="800" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1685_o.JPG" data-mid="15153853" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1613.JPG" width="355" height="533" width_o="355" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2975994/IMG_1613_o.JPG" data-mid="15153830" border="0" align="left"/> installation view LAND OF MILK AND HONEY Eine Ausstellung über Heimat und Fremde Leipzig, Germany 2012 <img src="http://payload33.cargocollective.com/1/6/211919/2975994/mappa.jpg" width="600" height="600" width_o="600" height_o="600" src_o="http://payload33.cargocollective.com/1/6/211919/2975994/mappa_o.jpg" data-mid="15191563" border="0" align="left"/> The map is formed by a conglomerate of various maps that share the central feature of being based on Ancient Roman urbanisation principles, such principles were theorized and later systematised by Hippodamus of Miletus. The system that he developed was taken to be the ideal protoype for spatial organisation and the ordering of a society, elements considered crucial for the development of succeeding urban models. In the map, the urban design is multiplied and composed symmetrically, forming a pattern that transforms the topographical plan into a new ornamental structure. This new design is then used by the two figures as a score for the interpretation of rhetoric gestures previously taken from Quintillian’s “Institutes of Oratory” as well as Mark Antony’s funeral speech played by Marlon Brando in “Julius Caesar”, directed by Joseph L. Mankiewicz. La mappa è tratta da diversi esempi urbanistici d’impianto romano che, come tali, si sviluppano dal modello ortogonale teorizzato e sistematizzato da Ippodamo da Mileto, assunto successivamente come principio fondante di disposizione spaziale e ordinamento sociale nell’evoluzione dei successivi modelli urbanistici. La rielaborazione grafica della mappa utilizza l’impianto urbanistico come pattern che ripetuto e composto simmetricamente trasforma la mappa in un nuovo impianto ornamentale. Esso determina e definisce un sistema di lettura che le due figure utilizzano come partitura di movimento per l’interpretazioni di gesti retorici precedentemente selezionati e tratti dall’ “Istitutio Oratoria” di Quintiliano e l’orazione funebre di Marco Antonio interpretata da Marlon Brando nel Giulio Cesare di Joseph L. Mankiewicz. La durata di ogni gesto è data dalla resistenza fisica all’immobilità e alla ripetizione. Performance documentation lenght 2h 30' by and with Ginevra Panzetti and Enrico Ticconi map’s graphic and documentation Sergio Salomone Leipzig, Germany 2012 installation view LAND OF MILK AND HONEY Eine Ausstellung über Heimat und Fremde Leipzig, Germany 2012 The map is formed by a conglomerate of various maps... DIE WANDERER http://cargocollective.com/panzettiticconi/DIE-WANDERER http://cargocollective.com/panzettiticconi/following/panzettiticconi/DIE-WANDERER Fri, 09 Mar 2012 18:14:02 +0000 www.panzettiticconi.com 2973944 video full HD, wooden frame lenght 22' 43" by and with Ginevra Panzetti and Enrico Ticconi photography Sergio Salomone 2011 'Die Wanderer' is a series of videos that were created throughout a ten day journey, from Leipzig to Tivoli. The journey, which was developed through a collection of landscape paintings from the Romantic era, occurs in ten stages. Each part of it visits the most influential and important sites in the development of Romantic iconography. Beginning in the south of Saxony before traversing the Tyroelan Alps, the journey finally reaches the Roman countryside. We passed over a route that is reminiscent of and refers to the 'Grand Tour', a passage traversed by the typical romantic wanderer. The specific characteristics of how the 'wanderer' inserts themselves into the views that they encounter is at a figurative distance and discrepancy with Romantic Iconography. Detached from notions of 'wonder' and 'spiritual collusion' with which the human body is inscribed in the romantic natural landscape, our 'wanderers' introduce themselves despotically into the frame, in a spirit that is generally at odds to, and peculiar for, the 'tourist'. They collect panoramas, inserting themselves with obtuse certainty into the painting. <img src="http://payload33.cargocollective.com/1/6/211919/2973944/1_905.jpg" width="905" height="251" width_o="1919" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/1_o.jpg" data-mid="15160082" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2973944/2_905.jpg" width="905" height="251" width_o="1919" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/2_o.jpg" data-mid="15160085" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2973944/3_905.jpg" width="905" height="251" width_o="1919" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/3_o.jpg" data-mid="15160092" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2973944/4_905.jpg" width="905" height="251" width_o="1919" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/4_o.jpg" data-mid="15160100" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2973944/5_905.jpg" width="905" height="251" width_o="1919" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/5_o.jpg" data-mid="15160109" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2973944/6_905.jpg" width="905" height="251" width_o="1919" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/6_o.jpg" data-mid="15160111" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2973944/7_905.jpg" width="905" height="251" width_o="1919" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/7_o.jpg" data-mid="15160114" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2973944/8_905.jpg" width="905" height="251" width_o="1919" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/8_o.jpg" data-mid="15160115" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2973944/9_905.jpg" width="905" height="251" width_o="1919" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/9_o.jpg" data-mid="15160120" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2973944/10_905.jpg" width="905" height="251" width_o="1919" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/10_o.jpg" data-mid="15160123" border="0" align="left"/> "Die Wanderer" è una serie video realizzata durante un viaggio di dieci giorni da Lipsia a Tivoli. Il percorso è stato definito dalla raccolta di esempi paesaggistici della pittura romantica che, in dieci tappe, tocca alcune delle aree geografiche più importanti per lo sviluppo dell’iconografia romantica. Partendo dalla bassa Sassonia, passando per le alpi tirolesi, fino ad arrivare alle campagne romane, abbiamo calcato un percorso che richiama il carattere tipico del viaggiatore del gran tour romantico. A determinare una discrepanza con tale iconografia è il carattere di immissione che le figure dei viandanti esercitano sulla veduta. Lontani dal sentimento di meraviglia e coinvolgimento spirituale con il quale la figura umana è inscritta nel paesaggio naturale romantico, i nostri viandanti si inseriscono formalmente nella "cornice" con fare dispotico. Con atteggiamento proprio al turista collezionano panorami, inserendosi con sicurezza ottusa nel quadro. <img src="http://payload33.cargocollective.com/1/6/211919/2973944/_MG_7578leg_905.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload33.cargocollective.com/1/6/211919/2973944/_MG_7578leg_o.jpg" data-mid="15156980" border="0" align="left"/> installation view COSA RESTA DEL GRAN TOUR curated by Claudio Libero Pisano C.I.A.C. centro internazionale per l'arte contemporanea Castello Colonna, Genazzano, Italy 2011 photo by Sergio Salomone video full HD, wooden frame lenght 22' 43" by and with Ginevra Panzetti and Enrico Ticconi photography Sergio Salomone 2011 'Die Wanderer' is a series of... ACTIO http://cargocollective.com/panzettiticconi/ACTIO http://cargocollective.com/panzettiticconi/following/panzettiticconi/ACTIO Fri, 09 Mar 2012 14:35:00 +0000 www.panzettiticconi.com 2972907 Video full HD, lenght 26' by and with Ginevra Panzetti and Enrico Ticconi photography Sergio Salomone 2012 Based on Quintilian’s “Institute of oratory”, book XI, Chapter III “De pronuntiatione”. In “Institute of Oratory” Quintilian defines the training processes for the perfect orator, from infancy to old age. In the third chapter of the eleventh book he lists and summarizes the series of gestures that an orator learns in order to effectively execute a delivery. Within the learning of a discourse, the fifth phase of the composition process is defined as the ‘actio’, the oratorical action defined by Aristotle as “a sort of body eloquence”. The actio or declamation, forms part of a larger compositional methodology that is governed by a logic of ‘absolute coherence’ and is the first prerequisite for the virtuosic use of language and implementation of persuasive intention. "Actio" takes form in two different media: a series of 10 panels and a video. Both are composed of ten chapters that strictly follow the structure suggested by Quintilian in the list of gestures. The reference to classic portraiture subsists together with an analytical excess regarding the study of gestures and their reproduction which emphasizes just the formal and aesthetic aspect of the execution. Simultaneously, the reference to the tipical TV news journalist format alludes to a pretended transparency of reality that for excess actually cats and numbs the image. The duplication of the orator's figures as well, generaly incline to the univocal expression, calls further into question the effectivness of the communicative intent. Tratto dall’ “Instititio Oratoria” di Quintiliano, Libro XI, Capitolo III “De pronuntiatione”. Nell’“Instititio Oratoria” Quintiliano definisce il percorso formativo del perfetto oratore dall’età infantile a quella adulta. Nel terzo capitolo del libro XI sono elencati e riassunti enciclopedicamente i gesti che l’oratore impara nella quinta fase del processo compositivo del discorso: l’actio, l’azione oratoria definita da Aristotele “una sorta di eloquenza del corpo”. L’actio, o declamazione, è legata alle altre fasi compositive da una logica di assoluta coerenza che rappresenta la prima prerogativa per l’utilizzo virtuoso del linguaggio e per lo scopo persuasivo. "Actio" e' un lavoro che ha due forme visive: un viedo e una serie di 10 tavole. Entrambi, attenendosi alla struttura del trattato, sono composti da 10 capitoli che seguono fedelmente l'elenco dei gesti stilato da Quintiliano. <img src="http://payload33.cargocollective.com/1/6/211919/2972907/421294_10150602077186939_123792731938_9238407_1220476446_n.jpg" width="400" height="602" width_o="400" height_o="602" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/421294_10150602077186939_123792731938_9238407_1220476446_n_o.jpg" data-mid="15162076" border="0" align="left"/> installation view TRADE OFF persuasioni etiche curated by Roberto D'Onorio Galleria 291 Est Rome, Italy 2012 Storia è una parola greca che deriva dalla radice indoeuropea oida, che significa “vedere”. Alla stessa radice viene ricondotto il termine sanscrito veda, che significa “sapienza”, e in latino video. È proprio nella storia che l’opera di Ginevra e Enrico trova la sua genesi, estrapolando dall’Institutio Oratoria di Quintiliano il percorso formativo del perfetto oratore dall’età infantile a quella adulta. Concentrandosi sul III capitolo del libro XI (“De pronuntiatione”) i due interpreti vivono il gioco della seduzione dando spettacolo dei gesti archiviati e riassunti nella V fase del processo virtuoso del linguaggio persuasivo: l’actio definita da Aristotele “una sorta di eloquenza del corpo”. Il tableau vivant, partendo dal cogito di Cartesio, sottrae l’anima al regime della visione delle idee, in cui l’aveva iscritta Platone, per produrla nel regime della rappresentazione del metodo comunicativo contemporaneo che di volta in volta si adotta. Per effetto di questa trasposizione il corpo e il mondo non sono visti ma rappresentati. Roberto D’Onorio <img src="http://payload33.cargocollective.com/1/6/211919/2972907/1 PRINCIPIUM_905.jpg" width="905" height="533" width_o="2048" height_o="1208" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/1 PRINCIPIUM_o.jpg" data-mid="24325633" caption=" &lt;b&gt;PRINCIPIUM&lt;/b&gt;" border="0" align="left"/> <img src="http://payload33.cargocollective.com/1/6/211919/2972907/2 INDICO_905.jpg" width="905" height="533" width_o="2048" height_o="1208" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/2 INDICO_o.jpg" data-mid="24325636" caption=" &lt;b&gt;INDICO&lt;/b&gt;" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/3 DISPUTO_905.jpg" width="905" height="533" width_o="2048" height_o="1208" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/3 DISPUTO_o.jpg" data-mid="24325640" caption="&lt;b&gt;DISPUTO&lt;/b&gt;" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/4 MODESTIA_905.jpg" width="905" height="533" width_o="2048" height_o="1208" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/4 MODESTIA_o.jpg" data-mid="24325649" caption=" &lt;b&gt;MODESTIA&lt;/b&gt;" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/5 ADMIRATIO_905.jpg" width="905" height="533" width_o="2048" height_o="1208" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/5 ADMIRATIO_o.jpg" data-mid="24325655" caption=" &lt;b&gt;ADMIRATIO&lt;/b&gt;" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/6 INTERROGO_905.jpg" width="905" height="533" width_o="2048" height_o="1208" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/6 INTERROGO_o.jpg" data-mid="24325658" caption=" &lt;b&gt;INTERROGO&lt;/b&gt;" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/7 PROBO_905.jpg" width="905" height="533" width_o="2048" height_o="1208" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/7 PROBO_o.jpg" data-mid="24325661" caption="&lt;b&gt;PROBO&lt;/b&gt;" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/8 HORTATIO_905.jpg" width="905" height="533" width_o="2048" height_o="1208" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/8 HORTATIO_o.jpg" data-mid="24325662" caption=" &lt;b&gt;HORTATIO&lt;/b&gt;" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/9 DEPREHENSIO_905.jpg" width="905" height="533" width_o="2048" height_o="1208" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/9 DEPREHENSIO_o.jpg" data-mid="24325666" caption="&lt;b&gt;DEPREHENTIO&lt;/b&gt;" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/10 POENITENTIA VEL IRA_905.jpg" width="905" height="533" width_o="2048" height_o="1208" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/10 POENITENTIA VEL IRA_o.jpg" data-mid="24325667" caption="&lt;b&gt;PENITENTIA VEL IRA&lt;/b&gt;" border="0" align="left"/> ACTIO - 10 Tavole 10 photos printed on paper applied on aluminum support; 100x59cm; wooden carved frame; by Ginevra Panzetti and Enrico Ticconi photography Sergio Salomone 2012 <img src="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view1_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view1_o.jpg" data-mid="24325687" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view 2_905.jpg" width="905" height="603" width_o="2048" height_o="1365" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view 2_o.jpg" data-mid="24325670" border="0" align="left"/> <img src="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view II_905.jpg" width="905" height="574" width_o="2048" height_o="1299" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view II_o.jpg" data-mid="24325672" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view V_905.jpg" width="905" height="573" width_o="2048" height_o="1297" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view V_o.jpg" data-mid="24325681" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view VII_905.jpg" width="905" height="574" width_o="2048" height_o="1299" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view VII_o.jpg" data-mid="24325684" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view IX_905.jpg" width="905" height="574" width_o="2048" height_o="1299" src_o="http://payload33.cargocollective.com/1/6/211919/2972907/instalation view IX_o.jpg" data-mid="24325676" border="0" align="left"/> installation view 26cc Rome, Italy 2012 Video full HD, lenght 26' by and with Ginevra Panzetti and Enrico Ticconi photography Sergio Salomone 2012 Based on Quintilian’s “Institute of oratory”,... lend me your ears! http://cargocollective.com/panzettiticconi/lend-me-your-ears http://cargocollective.com/panzettiticconi/following/panzettiticconi/lend-me-your-ears Fri, 09 Mar 2012 13:41:55 +0000 www.panzettiticconi.com 2972599 choreography length 25' choreography, stage and costumes Ginevra Panzetti and Enrico Ticconi assistant Sergio Salomone thanks Nik Haffner, Tian Rotteveel, Oronzo Villani with the support of Hochschule für Grafik und Buchkunst / Leipzig (HGB) and Hochschulübergreifendes Zentrum Tanz - Berlin (HZT). 2011 based on: "Institutes of oratory" by Quintilian "Mark Antony's speach" played by Marlon Brando in Julius Caesar (Joseph L. Mankiewicz) "Henkel's oration" played by Charlie Chaplin in The Great Diktator military marches of US Army Drill Team and North Korean Army tratto da:
 
 "Istitutio Oratoria" di Quintiliano;
 "Orazione funebre di Marco Antonio" interpretato da Marlon Brando in Julius Caesar di Joseph L. Mankiewicz;
 "Orazione di Henkel" interpretato da Charlie Chaplin in Il grande dittatore
 marce militari da US Army Drill Team e North Korean Army Il lavoro coreografico è stato preceduto da una raccolta di materiali visivi incentrati sulla figura dell’oratore, dal cui studio è stato sviluppato un sistema di assemblaggio e riproduzione mimetico. Il gesto autoritario ed eloquente proprio dell’oratore, nel metodo di reiterazione ed illustrazione, si trasforma in pattern gestuale che ne compromette lo scopo comunicativo. I due personaggi, doppi declamatori del messaggio solitamente univoco dell’oratore, adottano una strategia comunicativa che, per eccesso espressivo, incongruenze contestuali e giustapposizione di messaggi multipli, si concentra esclusivamente sul virtuosismo gestuale dell’enunciazione per annichilire totalmente il messaggio. Della logica comunicativa, dunque, persiste solo un’ostentazione della forma come tecnica persuasiva oggettivata in un ‘composto disordine’. .<img src="http://payload33.cargocollective.com/1/6/211919/2972599/viewer.jpg" width="400" height="400" width_o="400" height_o="400" src_o="http://payload33.cargocollective.com/1/6/211919/2972599/viewer_o.jpg" data-mid="15137340" border="0" align="left"/> Communication avoids any kind of determination if as it were the plague. It aspires to be something as well as its opposite; but at the same time, everything that is in between the two opposites. It is therefore totalitarian, but much more than traditional political totalitarism, bacause it also includes antitotalitarism. It is global in the sense that it includes whatever denies globality. La comunicazione invece si sottrae a ogni determinazione, come se fosse la peste. Aspira a essere contemporaneamente una cosa, il suo contrario e tutto ciò che sta in mezzo tra i due opposti. E' quindi totalitaria in una misura molto maggiore del totalitarismo politico tradizionale, perchè comprende anche e soprattutto l'antitotalitarismo. E' globale nel senso che include anche ciò che nega la globalità. M. Perniola, "Contro la comunicazione". choreography length 25' choreography, stage and costumes Ginevra Panzetti and Enrico Ticconi assistant Sergio Salomone thanks Nik Haffner, Tian Rotteveel, Oronzo... Area http://cargocollective.com/panzettiticconi/Area http://cargocollective.com/panzettiticconi/following/panzettiticconi/Area Thu, 08 Mar 2012 09:09:01 +0000 www.panzettiticconi.com 2963705 choreography length 35' by and with Ginevra Panzetti and Enrico Ticconi 2008 based on: old women waiting; guys sitting on a bench; telephon path; teenager with pigeons; energetic woman tourist; woman in St. Peter square; mendicant; walker with stick. “Area” is their first work that came out of their experience in the 'Stòa, School of rhythmic movement and philosophy' led by Claudia Castellucci (Socìetas Raffaello Sanzio). The work is based on a collection of video documentations that describe urban paths and waiting positions of people accidentally met between Rome and Cesena. The mimetic reproduction of the documented gestures and paths is set up according to a performative system generated by the incidence of a grid, which unities (7x5) have the length of a step, and the path's track of a man at the telephone in a square of Rome. Tratto da: anziane in attesa; giovani in panchina; percorso al telefono; adolescente con piccioni; turista energica; signora in piazza San Pietro; mendicante; passante con bastone Area è la loro prima creazione coreografica e nasce durante la frequentazione della Stòa, scuola di movimento ritmico e filosofia diretta da Claudia Castellucci (Socìetas Raffaello Sanzio). Il lavoro è basato su una raccolta di documenti video che descrivono percorsi urbani o posizioni d’attesa di persone incontrate casualmente in alcune città tra Roma e Cesena. La riproduzione mimetica delle gestualità e dei percorsi è assemblata secondo un sistema performativo generato dall’incidenza di una griglia, le cui unità 7 x 5 hanno la dimensione di un passo, e la traccia di un percorso di un giovane al telefono documentato in una piazza di Roma. choreography length 35' by and with Ginevra Panzetti and Enrico Ticconi 2008 based on: old women waiting; guys sitting on a bench; telephon path; teenager with... Mègàllo busz http://cargocollective.com/panzettiticconi/Megallo-busz http://cargocollective.com/panzettiticconi/following/panzettiticconi/Megallo-busz Thu, 08 Mar 2012 09:02:30 +0000 www.panzettiticconi.com 2963747 video lenght 4' 44" by and with Ginevra Panzetti and Enrico Ticconi 2008 Mègàllo busz is part of a series of works called Vienna-Budapest, a project developed along a bike route that connects the two capitals. The two bodies are settled inside different bus-stops that we met in the way between Szolohehgy and A'cs (North Hungary). The occupation of those spaces, that lack just one wall to be closed spaces, privileges the formal composition and eludes a possible functional relation with the place. The bodies dispose themselves like figures – or furniture. Mègallò busz è parte di una serie video intitolata Vienna - Budapest, un progetto sviluppato lungo un viaggio in bicicletta che collega le due capitali. Le due figure occupano alune fermate degli auto bus incontrate lungo un tragitto che collega Szolohehgy e A'cs due località nel nord dell'Ungheria. L'occupazione privilegia la composizione formale eludendo alcuna possibile relazione funzionale con il luogo. I corpi si inseriscono come figure - o oggetti d'arredo video lenght 4' 44" by and with Ginevra Panzetti and Enrico Ticconi 2008 Mègàllo busz is part of a series of works called Vienna-Budapest, a project developed... Petronell Schloss http://cargocollective.com/panzettiticconi/Petronell-Schloss http://cargocollective.com/panzettiticconi/following/panzettiticconi/Petronell-Schloss Thu, 08 Mar 2012 08:36:27 +0000 www.panzettiticconi.com 2963564 video lenght 2' 15" by and with Ginevra Panzetti and Enrico Ticconi 2008 Petronell Schloss is part of a series of works called Vienna-Budapest, a project developed along a bike route that connects the two capitals. The two visitors explore the abandoned castle by following the limits of the rooms determined by the architectonic plant. The step adheres to the ground with rigour. The occupation of the place, lasts as long as the length of the building plan needs to be walked, becoming itself a passage instead. Petronell schloss è parte di una serie video intitolata Vienna - Budapest, un progetto sviluppato lungo un viaggio in bicicletta che collega le due capitali. I due visitatori esplorano il castello abbandonato seguendo il percorso determinato dall'impianto architettonico. Il passo aderisce alla planimetria con rigore. L'occupazione dello spazio dura il tempo di percorrimento della pianta dell'edificio, diventando piuttosto l'esecuzione di un passaggio. video lenght 2' 15" by and with Ginevra Panzetti and Enrico Ticconi 2008 Petronell Schloss is part of a series of works called Vienna-Budapest, a project...