24ØØ – Alessandro Di Pietro

Don’t miss the launch at The Art Markets of 24ØØ, Alessandro Di Pietro’s editorial project drawn from Peter Greenaway’s movie A Zed & two Noughts. A publication made of 24 separate figures in which, through the scanning of the movie being shown on a computer’s screen, the enlarged subtitles are aleatorily recombined rebuilding a new writing of the movie itself.

© Alessandro Di Pietro

© Alessandro Di Pietro

Since when we opened our bookshop we started selling 24ØØ, black prints with two pink circles, editions of 10. What was it about?

The 10 prints that you received some months ago at T.A.M. bookshop are a first viral of 24ØØ project where the two OO are a first start of the deconstruction of the original film A Zed and two Noughts (1982). As stated in the press release “With this film, the director seems to reach for the first time the apex in which culminate all thematic and stylistic codes developed since the early works. The decomposition of the bodies, the animal anatomy placed on the same level with that of humans, mutilation, symmetry, the twins, the Dutch painting tradition and the obsession for Vermeer (a character in the film, surgeon and photographer, has the same name of a historic forger of the painter) are elements in continuous contact, considering the photo and linguistic level, in a manner reminiscent of the way in which the scientific method the late nineteenth century led to comparative anatomy”.

In the book you are presenting Friday 06th February we have several other similar images, with some texts on them. Is there a plot?

24ØØ is a publishing project that has its field of investigation in Peter Greenaway’s A Zed & two Noughts24ØØ is an operation of alteration of linguistic mannerisms of the original film, which breaks down into 24 separate tables in which, by scanning the film in motion on a computer monitor, the subtitles magnified recompose randomly in unprecedented ways, engulfing images and reconstructing a new writing of the film itself.

© Alessandro Di Pietro

© Alessandro Di Pietro

Which is the technique you used to create the final outcome?

The method I used to produce the 24 images, that create the editorial project 24ØØ, consists of scans applied to the surface of my Apple MacBook Pro 15.4 inch. The scanner (manual) works by scrolling and passing over moving images of a film, producing a synthesis of two space-time variables. The action of private production and regulation before the “book” is a performance and that the book itself is a ”sculptural documentation”or objectification of the performance. 24ØØ is part of a series of experiments investigating the film from the point of view of the body, and not only from a visual perception. The project 24ØØ is my second experience working with the moving image and with the cinematic storytelling through instruments that do not consider the view as a sensible tool, but instead the touch.

New Void was the first experience in that field, and consisted in the measurement of the film Enter the Void (2009) by Gaspar Noé (using the same technique), thereby obtaining a new array of images (and put in relation to a new script) that have condensed into new montage and built a new story replacing the original. In 24ØØ, unlike the first experience New Void, I focused instead on the textual apparatus represented by the regular function “home” of subtitle set on VLC. VLC can define the size and opacity of the letters, so enlarging them, I decided to scan the film with subtitles, thus creating completely new and unique  images and texts.

© Alessandro Di Pietro

© Alessandro Di Pietro

Is there any reference to photocopied collages such as the ones by Jim Shaw in the publication Destroy All Monsters?

Jim Shaw’s collages which defined the aesthetic identity of Destroy All Monsters are a good reference talking about the aptitude of forcing the means of production of a “stressed”, deformed, monstrous image: I wish these features could be noticed in all my work! The texts of the subtitles blend randomly in the images and a new potential plot and sound-story. The poetic-visual drift that reaches doesn’t cares about the senses, but about the image. The “visual poetry” that I composed in the images has been copied exactly, for each of the prints, on the back of the surface, respecting the metric suggested by the image  in order to be able to normalize it and “read it” in a graphical way.

I do feel that the new “plot” is defined more as a sound distillate than a “text” not only because many words are difficult to read, but also because reading them produces an unprecedented sound and that sometimes brings us back to the sense of fragments of the original text. I imagined the sound of a person who, without knowing English can reproduce and reinterpret, if chanted, singing the most beautiful pop songs despite not knowing the text! And 24ØØ will be a  raw material that soon I will use as a script for a new video project.

Destroy All Monsters

Destroy All Monsters

Which is the plan for the launch of the book at T.A.M.?

The book launch will be a good opportunity to explode poems from 24ØØ, subliminally. At T.A.M. bookshop i’m looking for a negotiation between the “book” and space. At the same time I asked Enrico Boccioletti to play a djset within the space because beside being one of the coolest visual artists and musicians in Milan, we have already collaborated on the creation of the audiovisual project New Void in which we created a relation between my textual and visual system with his project Translationships 2011-2014.

Alessandro Di Pietro (Messina, 1987) lives and works in Milan as a visual artist.

Main solo show: La table basse, FPAC Bad New Business (2014, Milan) curated by Simone Frangi. Main collective shows: Glitch. Interferenze tra Arte e Cinema, curated by Davide Giannella, PAC Padiglione d’Arte Contemporanea (2014, Milano); Zodiaco, curated by Davide Bertocchi, CAR drde (2014, Bologna); Primavera 2, curated by Valentine Meyer, CNEAI Centre National Édition Art Image (2013, Chatou); On File, Platforma Space – MNAC Annex (2013, Bucharest); Constructional System, curated by Simone Frangi, VIR – Viafarini in Residence (2012, Milan). Selected editorial projects: OEI Magazine #65 POSTKONST (Stockholm, 2014); New Observation #130 ( New York, 2014) and Boîte #12 (Milan, 2014). Selected residencies: Dena Foundation for Contemporary Art (2013, Paris); Fondazione Spinola Banna per l’Arte (2013-2014, Banna, Turin); VIR – Via Farini in Residence (2012, Milano) and Fondazione Ratti (2012, Como). Main review: Marco Tagliafierro, Artforum, july 2014.

© Alessandro Di Pietro

© Alessandro Di Pietro

Yes I am Writing A Book

Enrico Boccioletti

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Baron – Tyrone Lebon

Courtesy of Antenne Books

Courtesy of Antenne Books

The second issue of Baron is a photographic journey over a 12-month period, photographed by Tyrone Lebon and guest edited by Max Pearmain. Released in October 2013, it includes 36 pages in colour. Published in an edition of 1000 embossed hardcover (size 235 x 300mm) in pink silk and gold.

Courtesy of Antenne Books

Courtesy of Antenne Books

A central theme for this issue has been to question the evolvement of sexuality in today’s image sharing society. For example, the voyeur and exhibitionist were once used to describe those who spied or exhibited themselves to unsuspecting individuals, now it is increasingly used to define the audience and performers of reality projects. In our late post-modern age, sexual desires have been packaged, marketed, and are sold as adult entertainment.

Courtesy of Antenne Books

Courtesy of Antenne Books

Baron’s Second edition also includes a number of portraits of women who in one way or another have benefitted professionally from sexuality. From lingerie designer and erotic writer Britta Uschkamp, to musician and photographer Aza Shade and artist Daphne Greca, to erotic model Kit Hammonds, who wears a specially commissioned Baron motorcycle jacket by Lewis Leathers. 

Baron Magazine

Jorinde Voigt: Salt, Sugar, Sex

Courtesy of Lisson Gallery

Courtesy of Lisson Gallery

Jorinde Voigt’s first solo exhibition in Milan and her second with Lisson Gallery features medium- to large-scale drawings and a new collaboration with Mads Dinesen, an influential young fashion designer based in Berlin, on a series of hand-painted and embroidered Things to Wear. Voigt, who also lives and works in Berlin, creates significant and highly original drawn or painted abstract forms that are intricately interconnected by lines of text or movement. Her new series, carefully wrought in pastel, pencil and ink, is entitled Salt, Sugar, Sex and obliquely refers to the bodily functions that conspire to regulate our physiological production of these three important elements and hormones. As well as suggesting internal organs, Voigt’s drawings recall flower blooms or nerves connected by stems or branches, while plants themselves are similarly governed by biochemical reactions, involving the absorption of external stimulants and nutrients and the production of enzymes needed for cellular growth or change. 

Courtesy of Lisson Gallery

Courtesy of Lisson Gallery

Not only do Voigt’s works seem to function at a metabolic, almost molecular level, they also suggest wider, symbolic associations – the reds and blush pinks standing in for heat and energy, as well as having emotional resonance with passion. Just as nature, science and culture collide in Voigt’s frequent use of literary or scientific quotation alongside her drawn schema, so too do the oft-separated activities of philosophy and art, or thinking and doing. Her interweaving of decisions and pathways is a result of conflicting factors, among them her own gestures or marks in time and space, as can be seen in another major work, Yes or No (Ja Oder Nein), in which the vein-like interconnecting red lines signify an experience or recording of the present moment – each is accordingly tagged with the word ‘Now’. 

Courtesy of Lisson Gallery

Courtesy of Lisson Gallery

Voigt is also unveiling her first ever collaboration with a fashion designer, the Danish-born Mads Dinesen, who often imbues his innovative collections with artistic, spiritual and even political undertones. While Dinesen has designed the pieces and sourced fabrics onto which Voigt has applied splashes of paint, the resulting kimonos, entitled Things to Wear I-V (an almost literal translation of the Japanese word) are very much co-creations towards truly multifunctional, transformative, aesthetic objects or even as they see them, towards “wearable pictures”.

Courtesy of Lisson Gallery

Courtesy of Lisson Gallery

Voigt renders even the most unfathomable subjects – including, in this exhibition, the biological mechanics and spatial movements of the body, quantum physics and the passing of time – into elegant visual structures, albeit in the knowledge that each attempt is ultimately futile. “Futility is not a ‘weakness’ or an ‘absurdity’: it is a strong sign: the more futile, the more it signifies and the more it asserts itself as strength.” Roland Barthes, A Lover’s Discourse: Fragments, 1977.

Lisson Gallery