It had never happened before, in the history of the world, that such a high number of images, videos and audio tracks were made accessible to users of many parts of the globe in such a widespread and open way, triggering debates on rights, re-appropriation, thus authenticity, and data resistance at the time.
Downloading, sharing, reinstalling, remixing are the verbs that mark our days.
“What will it remain?” is a question that flows and recurs in our synapses in a continuous rhythm. File conservation is a complex topic, discussed in appropriate museum locations, accompanied by testing longer-lasting supports and / or by altering other ones by providing satisfactory documentation.
And if the loss will not be a problem? The amnesia that the brain produces of much information is a proven fact – maybe accepted – from neuroscientific sources that see in the hyperbola frenzy an impossibility to settle too many data in the area of memory – the hippocampus.
If we reflect, in the course of history, only the most powerful images and facts have remained: the ones which can pierce the airbag of time. Our imagination has assimilated and preserved them, just as the “iconographic heritage” of blogs, magazines, video games, movies … and assembles it in a productive way and reinterprets it with the tools it has.
It happens that the control of the artist on his/her work is delegated to the control of a mechanical arm. Do we perhaps live in a society in which our imagination, and therefore representation, is not filtered by algorithms, obscure but decisive for us?
These are the questions investigated by the pictorial and sculptural works of Marco Mendeni, who uses numerical control machines, software such as Google Deep Dream and DayZ virtual adventures to reprocess images that can measure mental mash-ups that ferry the artistic representation.
It results in oil canvas that circle the space of time in a stylistic matrix between the primitive essence of the stroke and the dreamlike and arabeggish transcendence of the forms of Google Deep Dream. The incisive and glowing sign of the machine did the rest.
While on the one hand we rejoice, finally, the relativization of man as a center and criteria of measure and action on the world, how much the perfection of man for machine make us perplexed and not vice versa?
Label201 presents Marco Mendeni – winner TINA PRIZE 2016 between Rome, Chicago, Mexico City – with an exhibition of unpublished works produced for the occasion by the artist and a live performance Lag_0.Dream at 9 pm. Lag_0.Dream is the result of a selection process, reconfiguration and transformation of some digital entertainment products. By dismanteling their essential dynamics and changing their work code, it wants to stimulate a more careful observation, against a often superficial and banally harmful use, part of a sort of collective unconsciousness. The performance of about 30 minutes will be a real-time remix of media products, seeking in the depth of code, improvisation and unpredictability its meaning.
Elena Giulia Abbiatici.
computer vision, My time machine is burning, Label 201, Roma, Italy
computer vision 2_Digital processing, oil on canvas, 100x125cm, 2017
particular, computer vision 6_Digital processing, oil on canvas, 100x125cm, 2017
computer vision 6_Digital processing, oil on canvas, 100x125cm, 2017
computer vision 4_Digital processing, oil on canvas, 100x125cm, 2017
computer vision 9_Digital processing, oil on canvas, 100x125cm, 2017
computer vision 11_Digital processing, oil on canvas, 40x55cm, 2017
computer vision 12_Digital processing, oil on canvas, 40x55cm, 2017