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.
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 Noughts. 24ØØ 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.
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.
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.
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.