L’unico dizionario di tutti i film, il primo da navigare, Cinisello Balsamo, San Paolo, Il Farinotti Dizionario di tutti i film, Roma, Newton Compton editori. Rossella Farinotti is the author of Il quadro che visse due volte ( avg rating, 0 ratings, 0 reviews, published ) and Il Farinotti ( avg r. Chi nella propria vita abbia visto più di una decina di film sa che la storia del cinema non si può che declinare al plurale: quella che per comodità di targhette .
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Your drawings and sculptures are not abstract. His revolutionary gesture took the shape of a minimal black square, an icon that resisted the traditional image making. And I found this relationship, me and this older Russian man, farinotti. I describe it as a space that opens up a conversation about our distinctly different personal, political, and historical experiences.
Your approach is not only aesthetic or ephemeral, it actually becomes a real reflection on time and space.
In the work that you produced for Negative Capability which you will show at Regards in Chicago, you conceptually and visually developed a new dimension or a third space. I introduced yellow ochre and earth-tones in contrast to the gray in order to add weight and also to evoke my daily landscape.
I gave it dimension and stretched ffarinotti into the room, and its space became architectural. It was very exciting to learn about these revolutionary artists because their work was not didactic or representational, unlike what I had seen around me and Fadinotti was so bored with.
Morellini Publishing,a book on the close relationship between art and film. I kept the dimensions of my piece faginotti same as he had chosen.
Thinking about utopia and what it means, its contradictory nature attracted me.
This li literally and conceptually opens up space for experimentation. And one does not get lost but loses oneself, with the implication that it is a conscious choice, a chosen surrender, a psychic state achievable through geography. It seems to farinofti you found new dimensions in these works. And that does more justice to the complexities that I experience as an Iranian female artist living in the U.
But in the performance you were physically moving the sculptures.
I knew part of me was rebelling against a patriarchal figure in my art life. This coincidence inspired us to continue our conversation over the next few months. And how bodies and sculptures interact with space.
There was tarinotti irritating about this flat utopian space, and I wanted to work with that.
Inshe published il Quadro che visse due volte Milan: How did you start with the first piece? A place that can be conceptualized or imagined but not experienced; a place that cannot be.
I also want to bring up the title you chose for the show, Negative Capability. I was excited to imagine what Malevich could have seen happening in there. What was it that interested you, and why Black Square?
I also noticed that in these recent works you moved towards using color, how did you choose the colors and how did they enter the work? I was attracted to it aesthetically because it was totally unfamiliar to me then. Some are combinations of different perspectives and others refer to multiple spaces, which suggest movement of some sort. This reminds me of the performance you did with your sculptures at the park during your residency at the Arts Incubator.
In the recent drawings, your approach to creating multi-dimensional spaces is similar to the wall sculptures. Also opposing the universalism of the social realism that I grew up with. And then I cut and rearranged it, and placed my personal objects inside the piece. You literally cut into the piece and showed us what is inside.
Spaces that associate with different times, perspectives, and spatial axes. Did you know where you wanted to arrive?
Rossella Farinotti is a contemporary art critic, curator and writer. Nazafarin was inspired by his writings and how he simplified ideas, energies, and forces into shapes and colors.
Rossella Farinotti (Author of Il quadro che visse due volte)
From to she was the assistant of the Ministry of culture of Milan. This feeling of living in an unfamiliar place intensifies the perception of everything around you. In these recent works, you are dealing with an inner shift frinotti material and movement in viewpoints and eye-level. I like to imagine a place where new subjectivities are possible and it allows for difference; difference in seeing, looking at things, and being seen.