Apri Chiudi

RINASCIMENTO 4.0 ///// Palazzo Strozzi, Firenze curated by Danila Ipri commissioned by VAR group, Area 35 ART Gallery

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[HD Video
2014
Dimensions Variable
created with the CryEngine 3]
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 LINK ///corriere della sera 

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r lightTweakSunlight 01, oil on canvas, 160cm x 110cm, 2018
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_Startschuss_Einladung /BERLIN //2016
project by Marco Mendeni

 

 

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Group Show // 2012
GAME VIDEO/ART. A SURVEY, XX1T Triennale International Exhibition, IULM space, curated by Vincenzo Trione and Matteo Bittanti, Milan, Italy

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Ranging from institutional critique to new media production, Game/Video Art. A Survey emphasizes the visual nature of digital gaming and its potential for creative expression, rather than mere escapism.
On the occasion of the XXI Triennale di Milano International Exposition, IULM University houses the exhibition named Game Video/Art. A Survey.
Game Video/Art. A Survey is the most comprehensive, eclectic, and diverse exhibition on machinima ever staged in Italy.
Featuring recent (2007-2015) works from a variety of world-renown artists, the show explores themes pertaining to simulation and representation, fiction and nonfiction, replay and re-enactment, architecture and urbanism, sex and race, gender and politics, war and terrorism through the lenses of videogame-made videos, also known as machinima.
By bringing together experimental filmmaking, performance art, video art, and gaming technologies (including virtual reality), Game Video/Art. A Survey invites the viewer to experience an artistic landscape in flux, one in which notions of media specificity and media convergence are simultaneously confirmed and rejected. The curators suggest that machinima is both a b lending of mediums/technologies and a truly innovative form.
The title itself is a pun on the word video game: by inverting the terms “video” and “game”, the curators hint at the playful nature of this peculiar form of visual art originating from digital games. Although a recent development in art history, machinima allows for a unique and differentiated experience from non-interactive visual media such as painting and sculpture. Its durational nature requires a longer commitment of time on the viewer’s part to render an aesthetic judgment. Machinima is, by definition, derivative and recombinant, suggesting a blurring of boundaries b etween content consumer and creator.
And yet, the ingenuity of the machinima makers and their inventive processes are often astounding. The works on display are truly multimedia in their deliberate appropriation of different audiovisual languages – from cinema to television, from music videos to internet aesthetics, from animation to puppetry. Machinima’s reliance on repeated patterns and source material construct haunting, dreamlike hallucinations which evoke uncanny situations, dark fantasies and crude dystopias. These video works explore ideas of imagined memories, failed futures, and alternative realities.
Credits
Curated by
Matteo Bittanti
Vincenzo Trione
Scientific direction
Gianni Canova

 

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FILE |  Electronic Language International Festival, curared by Paola Perisinnotto/RicardoBaretto, San Paolo, Brasil

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Solo Show / 2017
“My Time Machine Is Burning. (Is There A Life After Capitalism?)”
curated by Elena Giulia Abbiaticci, Label 201, Roma

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Credits:
Computer vision
a project by Marco Mendeni
Software: Deep Dream/ Deep Dreamer
Marco Mendeni 2017

 

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Solo Show / 2017
DE ORACULIS NOVIS, Curated by Arianna Grava, Area35 Gallery, Milano, Italy

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Solo Show / 2017
HYPE, AmyD Gallery, curated by Matteo Bittanti /Milano, Italy

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AUTFEST |   languages of the unheard, Altes Finanzamt, Berlin, Germany

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Group Show // 2012
BYOB |  Museo Pecci, curated by Domenico Quaranta, Milano, Italy

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Group Show // 2014
0M / no place to hide, Museo Civico Monfalcone, curated by Martina Cavallerin/Stefano Monti, Monfalcone, Italy

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