CLAUDIA ROSSINI AKA YAMADA HANAKO

My main activity is looking, in other words listening to the images. I hope you’ll like to glance at my look.

La mia attività principale è guardare, ovvero ascoltare le immagini. Spero vi piacerà dare un’occhiata al

mio sguardo.

check the news and more info at www.yamadahanako.orge-mail multiyamadahanako@gmail.com

STATEMENT ENG Italiano pagina seguente

>>>>> “The inventory started in 1839 and since then just about everything has been photographed, or so it seems.” Susan Sontag’s assertion (1973) now seems truer than ever. Where the industrial society broke off, the information society has stepped in, completing the transformation of its citizens into “image junkies”. So what scope remains today for those who wish to manifest their vision of the world? Claudia Rossini seems to have found the answer in archives. For her, collecting, selecting and organising represents an effective alternative or a constructive prelude to taking up her camera. An effective alternative because her gaze, no longer conveyed through an image, can emerge in the interstices of the gazes of others. Cruise in Venice (2008) is an installation that gathers 100 photographs downloaded from the internet, taken by tourists from the bridge of cruise ships moored in Venice. Similarly, Home Sweet Home (2009) gathers 100 shots of domestic interiors that only at a closer look transpire to be those of chichi “dolls houses”. A construc-tive prelude, because at times the interstices of what has already been photographed reveal openings onto what still can and should be photographed. Ambiguous Hour (2009) is an installation that documents that hour when the clocks change, based on shots taken by twenty four webcams, one for each time zone. In Venice Atlas���������¿IW\�ORFDWLRQV�DURXQG�9HQLFH�DUH�SKRWRJUDSKHG�IURP�DERYH��IURP�IRXU�GLIIHUHQW�SRLQWV��$QRWKHU�opening can come from intentionally embracing repetition, the conventional gaze: this is what Hanako does in (Reading Venice) Hic Requiescet Corpus Tuum, shooting every street in Venice from each end, in the light of day, without people. Venice is captured as everyone has already seen it.

[Domenico Quaranta for the catalogue of the exhibition “Collect the WWWorld. The Artist as Archivist in the

Internet Age” at LINK Center for the Arts of the Information Age]

>>>> We look for beauty everywhere���WKH�ZRUGV�WKDW�RSHQ�WKH�ÀRZ�RI�WKH�EORJ�>N-Tupla] - this is the key. That verb to seek, in a form between the collective and the impersonal, expresses the artist’s statement. Claudia 5RVVLQL�LV�QRW�DQ�H[SORUHU�RU�D�URPDQWLF�ÀDQHXVH��ZKLFK�LV�LQYHVWHG�E\�WKH�IHHOLQJ�RI�WKH�VXEOLPH��EXW�VKH�DFWV�UDWKHU�DV�D�VHDUFK�HQJLQH��$�SURYLVLRQ�DOPRVW�PHFKDQLFDO�UHJXODWHV�WKH�ÀRZ�RI�LQIRUPDWLRQ��PDNLQJ�D�VHOHF-tion. The artist doesn’t limit herself to the collection, but in her turn she methodically reconstructs the mate-rial according the layout of her standard format. [Francesco Urbano and Francesco Ragazzi, from the video interview about N-Tupla]

>>>>> The name Yamada Hanako (for females), is used primarily in Japan to refer to a completely average person, typically an average Japanese woman. As John Smith, it can be used both to give the image of a hy-pothetical “completely average person” or to describe an existing person.

[from Wikipedia, the free encyclopedia]

STATEMENT ITA

>>>>> “L’inventario è cominciato nel 1893 e da allora è stato fotografato quasi tutto, o almeno così pare”.

La constatazione di Susan Sontag (1973) sembra, oggi, più vera che mai. Laddove la società industriale

si è fermata, la società dell’informazione ha completato l’opera di trasformare i suoi cittadini in “drogati

d’immagini”. Che spazio resta, oggi, a chi voglia rendere visibile il proprio sguardo sul mondo?

Claudia Rossini sembra aver trovato la risposta nell’archivio. Raccogliere, scegliere e ordinare è per lei,

GL�YROWD� LQ�YROWD��XQ¶HI¿FDFH�DOWHUQDWLYD�R�XQ¶XWLOH�SUHPHVVD�DO�PHWWHUVL�GLHWUR�XQD�PDFFKLQD�IRWRJUD¿FD��8Q¶HI¿FDFH�DOWHUQDWLYD��SHUFKp�LO�VXR�VJXDUGR��QRQ�SL��YHLFRODELOH�LQ�XQD�LPPDJLQH��SXz�HPHUJHUH�QHJOL�LQ-

terstizi degli sguardi altrui. Cruise in Venice��������q�XQ¶LQVWDOOD]LRQH�FKH�UDFFRJOLH�����IRWRJUD¿H�VFDULFDWH�da internet, scattate da turisti sul ponte delle navi da crociera ormeggiate a Venezia. Analogamente, Home

Sweet Home (2009) raccoglie 100 scatti di interni domestici, che solo a un’attenta analisi si rivelano leziose

³FDVH�GL�EDPEROD �́�8Q¶XWLOH�SUHPHVVD��SHUFKp�D�YROWH�QHJOL�LQWHUVWL]L�GHO�IRWRJUDIDWR�VL�DSURQR�VSLUDJOL�LQ�FXL�è ancora possibile, e utile, fotografare. Ambiguous Hour (2009) è un’installazione che documenta l’ora am-

bigua di passaggio dall’ora legale all’ora solare attraverso gli scatti di ventiquattro webcam, una per ogni

fuso orario. In Venice Atlas (2009), cinquanta luoghi del territorio veneziano sono fotografati dall’alto, da

TXDWWUR�SXQWL�GLIIHUHQWL��8Q¶DOWUD�DSHUWXUD�SRVVLELOH�SXz�HVVHUH�TXHOOD�GL�DEEUDFFLDUH�LQWHQ]LRQDOPHQWH�OD�ripetizione, la convenzionalità dello sguardo: è quanto Hanako fa in (Reading Venice) Hic Requiescet Cor-

pus Tuum��LQ�FXL�RJQL�YLD�GL�9HQH]LD�q�IRWRJUDIDWD�DOO¶LQL]LR�H�DOOD�¿QH�GHO�VXR�SHUFRUVR��LQ�SLHQD�OXFH��VHQ]D�persone. Venezia viene riguardata come tutti l’hanno già vista.

>Domenico Quaranta per il catalogo della mostra “Collect the WWWorld. The Artist as Archivist in the Inter-net Age” presso il LINK Center for the Arts of the Information Age]

>>>>> Cerchiamo la bellezza ovunque - la scritta che apre lo scorrimento del blog [N-Tupla]- ne è la chiave.

Quel verbo cercare, in una forma tra il collettivo e l’impersonale, esprime lo statement dell’artista. Claudia

5RVVLQL�QRQ�q�XQ¶HVSORUDWULFH�R�XQD�ÀDQHXVH�URPDQWLFD�LQYHVWLWD�GDOOD�VHQVD]LRQH�GHO�VXEOLPH��PD�DJLVFH�piuttosto come un motore di ricerca.

8QD�GLVSRVL]LRQH�TXDVL�PHFFDQLFD�UHJROD�LO�ÀXVVR�GL�LQIRUPD]LRQL��RSHUDQGR�XQD�VHOH]LRQH�L’artista non si riduce alla raccolta, ma a sua volta ricompone metodicamente il materiale secondo il layout

di un proprio formato standard.

>Francesco Urbano e Francesco Ragazzi, dalla video-intervista su N-Tupla]

>>>>> Il nome Yamada Hanako è usato in Giappone per riferirsi a una persona completamente nella media,

FLRq�XQD�GRQQD�JLDSSRQHVH�TXDOXQTXH��&RPH�0DULR�5RVVL��SXz�HVVHUH�XVDWR�VLD�SHU�LQGLFDUH�XQD�SHUVRQD�qualsiasi che una realmente esistente.

>GD�Wikipedia, la libera enciclopedia]

STATEMENT - BIS

I asked to some people to speak about my work and to record themself trough the webcam: you can see a few videos on www.yamadahanako.org

Ho chiesto a qualche persona di parlare del mio lavoro registrandosi con la webcam:

puoi vedere alcuni video su www.yamadahanako.org

LA GONDOLIERA2013

20 photo color cm 45x45, Fine Art print on Hahnemuhle PhotoRag 308 paper ed. 3 + 2 AP1 photo B&W cm 110 x 140; Fine Art print on Verona Natural White 240 paper ed. 3 + 2 AP1 sculpture !rst iron (dolphin) of gondola of Alex Hai, ed. uniqueArtist book 105 pages, 30x30 cm, ed. 55 numbered and signedBlack box by Flaneur&Dust Publisher, ed. 110, signed

Exposed in the personal exhibition “La Gondoliera” at Jarach Gallery, Venice in February-March 2014

An intriguing collaborative venture with Alex Hai, a celebrated but controversial female gondolier, who is also a photographer and !lm-maker. A series of photographs shot by the two artists and a catalogue which gathers an array of articles and artefacts depicting the story of this embattled heroine who dragged the profession of gondolier into the 21st century.

Una collaborazione con Alex Hai, la prima gondoliera del mondo che, con il suo arrivo nel 1996, ha interrotto la tradizione millenaria del mestiere più rappresentativo di Venezia di essere esclusivamente maschile.Una serie fotogra!ca prodotta a quattro mani e un catalogo che raccoglie i centinaia di articoli e documenti sino ad oggi sulla storia di questa straordinaria eroina che ha rinnovato una leggenda in chiave contemporanea e nonostante le consuetudini sociali.

STORIA DI UN AMORE SEGRETO(GLI AMANTI NON VEDONO LE AMABILI FOLLIE CUI S’ABBANDONANO)

2013100x140cm, leather, plexiglass, mirror

Title: The Story Of A Secret Love (Lovers cannot see the pretty follies that themselves commit) The artwork assures about a secret love affair, which cannot be revealed to anyone. It consists of a text in EUDLOOH�RQ�OHDWKHU�DQG�RI�D�UHÀHFWLQJ�VXUIDFH��VHW�XS�SHUSHQGLFXODU�WR�WKH�ZDOO�ZLWK�ZLQGRZ�KLQJHV��$V�\RX�can not be blind and sighted at the same time, you cannot fully know what two lovers live, but only perceive its incommunicability.7KH�H[SHULHQFH�RI�WKH�DUWZRUN�LV�LQ�WKH�LQWXLWLRQ�DQG��LPDJLQDWLRQ�RI�LWV�VLJQL¿FDWLRQ�The sub-title is a quote from “The Merchant of Venice” by William Shakespeare.

4XHVW¶RSHUD�FL�UDFFRQWD�XQD�UHOD]LRQH�G¶DPRUH�VHJUHWD��FKH�QRQ�SXz�HVVHUH�ULYHODWD�D�QHVVXQR��(¶�FRPSRVWD�GD�XQ�WHVWR�LQ�EUDLOOH�VX�SHOOH�H�GD�XQD�VXSHU¿FLH�VHPLVSHFFKLDQWH��DOOHVWLWD�SHUSHQGLFRODUPHQWH�DOOD�SDUHWH�FRQ�GHOOH�FHUQLHUH�GD�¿QHVWUD��FRPH�QRQ�VL�SXz�HVVHUH�FLHFKL�H�YHGHQWL�QHOOR�VWHVVR�WHPSR��FRVu�QRQ�VL�SXz�FRQRVFHUH�DSSLHQR�TXHOOR�FKH�YLYRQR�GXH�DPDQWL��PD�VROR�SHUFHSLUQH�O¶LQFRPXQLFDELOLWj��(FFR�FKH�DOORUD�l’esperienza dell’opera si compie nella sua intuizione, nella potenza dell’immaginazione. Il sottotitolo è una

citazione da “Il Mercante di Venezia” di William Shakespeare.

STREAMING_BED

A performance, an evening, a stream - that is, the night-time conversation on the bed in the form of vid-eos and music between the artist and the curator Giada Pellicari, projected on the wall and simultaneously ¿OPHG�ZLWK�WZR�ZHEFDPV�DQG�VSUHDG�RQ�VWUHDPLQJ�

From the press release:<DPDGD��³7KH�¿UVW�WLPH�WKDW�,�KHDUG�RI�*LDGD�ZDV�ZKHQ�VRPHRQH�WROG�PH�DERXW�KLV�OHFWXUH�RQ�WKH�:ULWLQJ�LQ�Italy, last year.”-DGH��³7KH�¿UVW�WLPH�WKDW�,�VDZ�DQ�DUWZRUN�E\�<DPDGD�+DQDNR�ZDV�WZR�\HDUV�DJR�LQ�WKH�FDWDORJXH�RI�DQ�exhibition. Then I did a research about her. “

Una performance, una serata, uno streaming - ovvero il dialogo notturno sul letto in forma di video e mu-

sica tra l’artista e la curatrice Giada Pellicari, proiettato sulla parete e contemporaneamente ripreso con

due webcam e diffuso in streaming.

Dal comunicato stampa:

Yamada: “La prima volta che ho sentito parlare di Giada è stata quando mi hanno raccontato della sua

conferenza sul Writing in Italia, l’anno scorso.”

Giada: “La prima volta che ho visto il lavoro di Yamada Hanako è stata due anni fa all’interno del catalogo

di una mostra. Poi ho fatto una ricerca su di lei.”

PARLAMI D’AMORE MARILYNPARLAMI D’AMORE LINDAlambda print and ink-jet print on paper between glass2012ed. 1

An exercise of militant erotic writing. The thing that you never think to when watch a porn movie: the FRPSOHWH�WUDQVFULSWLRQV�RI�WKH�GLDORJXHV�IURP�WKH�SRUQRJUDSKLF�¿OPV�³'HHS�7KURDW´��������DQG�³%HKLQG�7KH�Green Door” (1972) partially hide their screeshot.

8Q�HVHUFL]LR�GL�VFULWWXUD�HURWLFD�PLOLWDQWH��/D�FRVD�D�FXL�QRQ�SHQVL�PDL�TXDQGR�JXDUGL�XQ�¿OP�SRUQR��OD�FRPSOHWD�WUDVFUL]LRQH�GHL�GLDORJKL�GDL�¿OP�SRUQRJUD¿FL�³*ROD�3URIRQGD´��������H�³2OWUH�OD�3RUWD�9HUGH´���������D�QDVFRQGHUH�SDU]LDOPHQWH�OH�IRWRJUD¿H�GDOOR�VFKHUPR�

MORE PUSSY FOR EVERYBODYFROM THE PROJECT DEBERLUSCONIZERimages and words online (web tool for a self-censorship), 2011

The DEberlusconiZER is a web tool that replaces the images and words related to the Italian Prime Min-LVWHU��7KH�VRIWZDUH�VXEYHUWV�WKH�PHGLD�PDFKLQH�FUHDWHG�E\�RQH�RI�WKH�PRVW�FRQWURYHUVLDO�¿JXUHV�LQ�,WDOLDQ�politics by reclaiming the space devoted to him and using it for new porpuses.The DEberlusconiZER is a project by Elisa Giardina Papa, Fabrizio Giardina Papa, Giovanni Salerno and Floriano Lapolla. The artists have been selected and invited by art critic Domenico Quaranta.7R�UHSODFHV�%HUOXVFRQL�,¶YH�FKRVHQ�³3XVV\ �́�D�FRQWHQW�HYHQ�PRUH�SUHVHQW�DQG�SHUYDVLYH�RQOLQH��WKH�SLFWXUH�RI�a cute cat. Tender and ambiguous at the same time (because of the sexual implications of the title), the cute cat is also a symbol of sharing and freedom of expression in online environments: censor our cats, and we will revolt.

,O�'HEHUOXVFRQL=(5�q�XQ¶DSSOLFD]LRQH�FKH�SHUPHWWH�GL�ULXWLOL]]DUH�OR�VSD]LR�ZHE�RFFXSDWR�GDOOH�LPPDJLQL�H�dalle parole collegate al presidente del consiglio italiano. Il software interviene sul meccanismo di satu-

razione mediatica e culturale prodotta da uno dei personaggi più controversi della politica italiana e si

appropria degli spazi a lui dedicati per veicolare contenuti nuovi.

,O�'(EHUOXVFRQL]HU=(5�q�XQ�SURJHWWR�GL�(OLVD�*LDUGLQD�3DSD��)DEUL]LR�*LDUGLQD�3DSD��*LRYDQQL�6DOHUQR�H�Floriano Lapolla. Gli artisti sono stati selezionati e invitati dal critico d’arte Domenico Quaranta.

Per rimpiazzare Berlusconi ho scelto “Pussy”, un contenuto ancor più onnipresente e pervasivo in rete: la

foto di un gattino. Insieme tenero e ambiguo (per i richiami sessuali resi espliciti dal titolo del lavoro), il

JDWWR�q�SHUz�DQFKH�VLPEROR�GHOOD�FRQGLYLVLRQH�H�GHOOD�OLEHUWj�GL�HVSUHVVLRQH�LQ�UHWH��WRJOLHWHFL�L�QRVWUL�JDWWL��e una rivolta vi seppellirà.

N-TUPLE (PERSONAL NOTES) | N-TUPLA (APPUNTI PERSONALI)

websitedimensions variable2010 - ongoing

exhibition version: 9 duratrans print on lightbox 30 x 40 cm each element2011ed. 1 + 2 A.P. Smart Gmbh Collection

“In mathematics and computer science, a tuple is an ordered list of elements. In set theory, an (ordered) n-tuple is a sequence (or ordered list) of n elements, where n is a positive integer. The term originated as an abstraction of the sequence: single, double, triple, quadruple...$�WXSOH�VSDFH�LV�DQ�LPSOHPHQWDWLRQ�RI�WKH�DVVRFLDWLYH�PHPRU\�SDUDGLJP�IRU�SDUDOOHO�GLVWULEXWHG�FRPSXW-ing. It provides a repository of tuples that can be accessed concurrently. As an illustrative example, consider that there are a group of processors that produce pieces of data and a group of processors that use the data. Producers post their data as tuples in the space, and the consumers then retrieve data from the space that match a certain pattern. This is also known as the blackboard metaphor. Tuple space may be thought as a form of distributed shared memory.”[from Wikipedia, the free encyclopedia]

“We look for beauty everywhere.And often we spend time in this way,without utility (the one that you like)without utility (because it’s useless for us)”[translated from the song “Bellezza”, Marlene Kuntz]

“Nelle discipline matematiche e informatiche, una tupla è una lista ordinata di elementi. Nella teoria degli

insiemi, una n-tupla (ordinata) è una sequenza (o una lista ordinata) di n elementi, dove n è un numero

intero positivo. Il termine ha origine da una generalizzazione dei numeri moltiplicativi: singolo, doppio,

triplo, quadruplo...

/R�VSD]LR�GHOOH�WXSOH�q�XQR�VYLOXSSR�GHO�SDUDGLJPD�GHO�FDOFROR�SDUDOOHOR�H�GLVWULEXLWR��(VVR�IRUQLVFH�XQ�GHSRVLWR�GL�WXSOH�FXL�VL�SXz�DFFHGHUH�FRQWHPSRUDQHDPHQWH��&RPH�HVHPSLR��VL�FRQVLGHUL�FKH�FL�VRQR�XQ�gruppo di processori che producono parti di dati e un gruppo di processori che utilizzano i dati. i produt-

tori inseriscono i loro dati come tuple nello spazio, e i consumatori poi recuperano dallo spazio i dati che

corrispondono a un determinato schema.

4XHVWR�SURFHVVR�q�DQFKH�FRQRVFLXWR�FRPH�OD�PHWDIRUD�GHOOD�ODYDJQD��/R�VSD]LR�GHOOH�WXSOH�SXz�HVVHUH�SHQ-

sato come una forma di memoria condivisa.”

>GD�:LNLSHGLD�O¶HQFLFORSHGLD�OLEHUD@

“Noi cerchiamo la bellezza ovunque.

(�SDVVLDPR�VSHVVR�LO�WHPSR�FRVu��senza utilità (quella che piace a voi)

VHQ]D�XWLOLWj��SHUFKp�QRQ�VHUYH�D�QRL�´>GDOOD�FDQ]RQH�³%HOOH]]D �́�0DUOHQH�.XQW]@

KWWS���ZZZ�Q�WXSOD�QHW/

C2C (A BIG CLEAR DREAM)FROM THE SERIES N-TUPLA (PERSONAL NOTES)

2011lambda print under plexiglass mounted on leger 120x80 cm212 sheets of paper size A4Ed. 1 + 2 A.P.

The photograph of Yamada Hanako laptop on the bed of her lover, based on 212 sheets with the complete transcription of their online chat, from its start to the moment of the printing.

/D�IRWRJUD¿D�GHO�FRPSXWHU�SRUWDWLOH�GL�<DPDGD�+DQDNR�VXO�OHWWR�GHOO¶DPDQWH��DSSRJJLDWD�VX�����IRJOL�FRQ�la completa trascrizione della loro chat online, dal suo inizio al momento di stampa.

VOICEPRINT OF A LOVE CHAT ABOUT THE DECISIVE MOMENT

Ink-jet print on diasec70x100 cm2011ed. 1 + 2 A.P.Unicredit Collection

7KH�VWULFWO\�FRQ¿GHQWLDO�LPDJH�¿OH�,0*B����EZ�MSJ transferred from K.K. to Y.H. in a Skype chat and used as spectogram. The original photograph, never showed to the public, rapresents the acme moment of WKH�ORYLQJ�LQWHUFRXUVH�EHWZHHQ�.�.��DQG�DQ�RWKHU�ORYHU�RI�KLP��+RZ�GRHV�D�¿OH�LPDJH�VRXQG"�7KH�KXPDQ�H[SHULHQFH�LV�RQH�DQG�XQLTXH��EXW�LW�FRXOG�EH�HQFRGHG�LQ�LQ¿QLWH�ZD\V�WKURXJK�GLJLWDO�GDWDV��DOO�WKH�FRGLQJ���image, audio track, alphanumeric text - are equally authentic rapresentations even if they are different and reproducible.

,O�¿OH�LPPDJLQH�VWUHWWDPHQWH�FRQ¿GHQ]LDOH�,0*B����EZ�MSJ trasmesso da K.K. a Y.H, nella chat Skype e

XVDWR�FRPH�VSHWWURJUDPPD��/¶LPPDJLQH�RULJLQDOH�PDL�PRVWUDWD�DO�SXEEOLFR�q�OD�IRWRJUD¿D�GHO�PRPHQWR�culmine del rapporto amoroso tra K.K. e un’altra amante. Come suona un’immagine? L’esperienza umana

q�XQLFD�H�LUULSHWLELOH��PD�SXz�HVVHUH�FRGL¿FDWD�LQ�LQ¿QLWL�PRGL�DWWUDYHUVR�L�GDWL�GLJLWDOL��WXWWH�OH�FRGL¿FKH�- immagine, traccia audio, testo alfanumerico - sono rappresentazioni ugualmente autentiche anche se

diverse e duplicabili.

HIC REQUIESCET CORPUS TUUM

2011 - ongoing9 illustrated and different volumes, each one composed by 99 pages, size A4ed. 1

A series about the cityscape of Venice: all streets photographed from the beginning and from the end of WKHLU�OHQJWK�EXW�ZLWKRXW�SHRSOH��7KH�QWK�UHÀHFWLRQ�RQ�9HQLFH��DIWHU�DOO�WKH�DUWLVWV��ZULWHUV��DQG�WKH�UHÀHF-tions in the water of the canals), the eulogy of repetition as zen discipline of the spirit. At today the database consists of 1000 photos. Venice seems always the same but every photography of her is different.Project on going presented in the MA Degree thesis, Faculty of Design & Arts, IUAV: supervisors Master /HZLV�%DOW]. and Prof. Antonello Frongia.Thanks to Elisa Calore and Cecilia Divizia for the help.

Una serie sul paesaggio urbano di Venezia: tutte le calli fotografate dalle estremità della loro lunghezza

PD�VHQ]D�SHUVRQH��/¶HQQHVLPD�ULÀHVVLRQH�VX�9HQH]LD��GRSR�WXWWL�JOL�DUWLVWL��VFULWWRUL��H�L�ULÀHVVL�QHOO¶DFTXD�dei canali), l’elogio della ripetizione come disciplina zen dello spirito. Ad oggi l’archivio consiste di 1000

IRWRJUD¿H��9HQH]LD�VHPEUD�VHPSUH�XJXDOH�PD�RJQL�VXD�IRWRJUD¿D�q�GLYHUVD�Progetto presentato come tesi di laurea: relatori il Maestro Lewis Baltz e il Prof. Antonello Frongia.

Grazie a (OLVD�&DORUH e a Cecilia Divizia per l’aiuto.

Messaggio di Yamada Hanako a Pietro Los via Facebook

Sab 19 nov 2011 01:29

ciao Pietro,

ti mando link della raccolta con il mio ultimo progetto: mi farebbe davvero piacere avere un tuo riscontro, tu che scrivi così

bene e sai vedere oltre.

un abbraccio

clod

da: pietrolos plos@xxxxxxx

a: Claudia Rossini <clod.rossini@gmail.com>

data: 19 November 2011 04:26

soggetto: Hic-requiescet-corpus-tuum-Vol-9

ciao claudia,

il primo abbaglio è stato spiazzante. l’essenzialità della forma e la serialità delle immagini, nonostante la dovizia di dettagli,

non rappresentavano praticamente nulla di quei luoghi, tanto si perdevano nella ripetizione delle prospettive e dei toni.

il secondo pensiero è tornato alle parole che ti scrissi il giorno seguente alla cena del mio compleanno, ma qui nell’esatto

contrario.

se con il lavoro di torino avevi mostrato un’immagine (yamada hanako) attraverso la moltitudine -reale- di soggetti scon-

RVFLXWL��LQ�TXHVWR�FDVR�LO�VRJJHWWR��YHQH]LD��q�UDSSUHVHQWDWR�GD�WDQWH�LPPDJLQL�DQRQLPH��L�OXRJKL�VRQR�ULFRQRVFLELOL�FRPH�parte di un tutto, senza il quale ne rimarrebbe solo un’ammasso di immagini fra loro omologhe, e una serie di variazioni

numeriche che, nonostante la precisione assoluta, allontanano ulteriormente dal soggetto.

TXHVWD�q�HVDWWDPHQWH�FLz�FKH�GHVFULYHYD�KHLGHJJHU�TXDQGR�SDUODYD�³GHO�PRQGR�ULVROWR�LQ�LPPDJLQH �́�GRYH�O¶DVHWWLFLWj�GHOOD�SHUIH]LRQH�VFLHQWL¿FD�SUHWHQGH�GL�GLYHQWDUH�HVSUHVVLRQH�XOWLPD�GHOOD�1DWXUD�\DPDGD�KDQDNR��QHO�FDRV�GHOOD�VXD�UDSSUHVHQWD]LRQH��FRQGXFH�D�XQD�LGHQWLWj�YLWDOH�H�LQWHUDWWLYD���H�¿Q�TXL�QRQ�DYHYR�DQ-

FRUD�WUDGRWWR�LO�WLWROR������LQ�TXHVWD�WHRULD�GL�LPPDJLQL��YHQH]LD�FL�DSSDUH�VHQ]D�YLWD��VH]LRQDWD�LQ�����SH]]HWWL�EHQ�FDWDORJDWL�questa non è solo la morte di venezia, è anche la morte della Natura, qui ridotta a una moltitudine di bit che “non somiglia

più al mare da cui proviene” (epigrafe di maeterlinck ai “turbamenti del giovane torless”).

una epigrafe per “Hic requiescet corpus tuum” potrebbe essere:

³FRQ�VSDGD�RUUHQGD�L�WLWDQL�YLRODURQR�GLRQLVR�FKH�JXDUGDYD�¿VVDPHQWH�O¶LPPDJLQH�PHQGDFH�QHOOR�VSHFFKLR�VWUDQLDQWH´�12112��'LRQLVLDFKH�baci, e che gli dei siano con noi,

p

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100 digital photos each 10x15 cmlambda print on dibond2008ed. 1 + 2 A.P.

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100 photos downloaded from the Web taken by passengers on the decks of cruise ships that calls in Venice, with the route as the caption.

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50 digital photos each 10x15 cmlambda print2008ed. 1 + 2 A.P.

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Awards2011 | Very smart Award | Jarach Project | The Others Artfair | Turin

2009 | QCoffe Flash | Fondazione Querini Stampalia | Venice

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Selected exhibitions2014(YROX]LRQH�_�FXUDWHG�E\�0DUFR�7DJOLD¿HUUR�_�6SD]LR�0RQRWRQR��9LFHQ]D

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Far Festa - Nuove feste veneziane | curated by Cake Away | LaboratoriOccupato Morion | Venice

The Hundredth Window | Jarach Gallery | Venice

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Collect the Wwworld. The artist as Archivist in the Internet Age | curated by Domenico Quaranta | House of (OHFWURQLF�$UWV�_�%DVHO�>&DWDORJXH@

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Personal effects on sale | a project by Francesco Calzolari, David Casini, Viola Emaldi, Irene Guzman, Val-HQWLQD�5RVVL��0DUFR�6FRWWL��6LVVL�_�(VSULW�1RXYHDX�3DYLOOLRQ�_�%RORJQD

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Collect the WWWorld. The Artist as Archivist in the Internet Age | curated by Domenico Quaranta and produced by LINK Center for the Arts of the Information Age | Spazio Contemporanea | %UHVFLD�>&DWDORJXH@�

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Venice Film Meeting | Multisala Astra | Lido di Venezia

Angolazioni Urbane - Verso un’opera collettiva | curated by mestresweetcity | Forte Marghera | Venice%<2%��%ULQJ�<RXU�2ZQ�%HDPHU��_�D�SURMHFW�E\�5DIDHO�5R]HQGDDO�_���WK�9HQLFH�$UW�%LHQQDO�_�,QWHUQHW�3DYLO-lion | Venice

DEberlusconiZER | curated by Domenico Quaranta | a web-project by Elisa Giardina Papa, Fabrizio Giardi-na Papa, Giovanni Salerno and Floriano Lapolla

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Souvenirs | Double personal | Art&Co | fondazione march | curated by Chiara De Cristan | Villa Contarini | 3DGXD�>&DWDORJXH@

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myFolder | curated by Elisa Lampariello | fondazione march | Padua9HQH]LDB$WODQWH�_�3HUVRQDO�H[KLELWLRQ�_�4&RIIH�)ODVK�&RQWHVW�_�)RQGD]LRQH�4XHULQL�6WDPSDOLD�_�9HQLFH

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Open#1 | Magazzini del Sale | Venice

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Publications

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Corriere della Sera - Corriere Innovazione #3 | 29 marzo 2013

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Corriere della Sera - Sette | 13 luglio 2012

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Una storia dipinta - Il porto di Venezia | Gg Gallery Edizioni | 2009

Workshops - residencies�����_�$WHOLHU�)RQGD]LRQH�%HYLODFTXD�/D�0DVD�_�9HQLFH2012 | European Alternatives’ Transational Dialogues project: China | curated by Luigi Galimberti Faussone _�%HMLQJ�DQG�6KDQJKDL�����_�)RQGD]LRQH�6SLQROD�%DQQD�SHU�O¶$UWH�_�$UWLVW�0DVWHU�/HLJK�/HGDUH�_�7XULQ2010 | Photography in the Age of Internet | Artist Master Yeggaranga Nayakamani | curated by Spazio XYZ _�)RQGD]LRQH�&ODXGLR�%X]LRO�_�9HQLFH�����_�5HDO�3UHVHQFH������_�FXUDWHG�E\�'REULOD�'HQHJUL�DQG�%LOMDQD�7RPLF�_�%HOJUDGH

Artfairs2012 | Jarach Project | Roma Contemporary | Roma2012 | Jarach Project | MiArt | Milano2011 | Solo exhibition in Jarach Project | The Others Artfair | Turin2011 | Jarach Gallery | ArtVerona | Verona

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Lectures2013 | Visual Arts workshop, Master Adrian Paci, IUAV | Venice2012 | 19th Course for curators of artistic events | portfolio presentation | A plus A Slovenian Exhibition Centre | Venice2012 | Plat(t)form | portfolio presentation | Fotomuseum Winterthur

check the news and more info at www.yamadahanako.orge-mail multiyamadahanako@gmail.com