Il MACRO dal 2012 ha avviato un programma di residenze d’artista trasformando i quattro spazi al secondo piano dell’ala storica del museo in studi di circa 100 mq per accogliere altrettanti artisti (due italiani e due stranieri) per un periodo di quattro mesi.

Gli artisti selezionati per il periodo da febbraio a maggio 2014 sono stati  Guglielmo Castelli (1987, Torino),   Nemanja Cvijanovi? (1972, Rijeka, Croazia),   Anna Franceschini (1979, Pavia),   André Romão (1984, Lisbona, Portogallo).

Per presentare Studio Shows – la mostra finale di questa quinta edizione del programma Artisti in residenza che ha inaugurato il 12 Giugno e che rimarrà aperta fino al 24 Agosto – ATPdiary ospita un diario fotografico commentato, per raccontare le suggestioni raccolte dagli artisti durante il periodo di residenza. 

Dopo Guglielmo Castelli e André Romão, è la volta di Anna Franceschini.  

Durante la residenza al MACRO l’artista ha composto un articolato dispositivo che analizza la fusione tra l’evento performativo e cinematografico, la ridiscussione delle categorie di underground e mainstream, la rappresentazione di Roma e l’autorappresentazione della città stessa. L’artista ha raccolto una serie di appunti visivi che ha tradotto e restituito attraverso vari media, quali film, video, animazioni, ombre proiettate. Un repertorio di opere e teorie che va sotto l’etichetta di Expanded Cinema, approfonditi attraverso l’organizzazione di differenti incontri e workshop, dal titolo Selador.

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Il diario della mia permanenza romana si chiama Selador.

Selador è nato con la mia application per il Macro e si è espanso e infiltrato fuori e oltre il museo.

Selador è stato anche la reazione ad una situazione di attesa e di incertezza rispetto a decisioni da prendere, che non sono state tuttora prese.

Da questo è nato Selador, da un desiderio di esistenza e di resistenza, ma mai solido e monolitico, sempre sfumato, ibrido, dolce. Selador è vitale, quindi ama mescolarsi agli amici ed essere trasmesso live.

Per ora, Selador ha preso forma tre volte, attraverso sembianze sempre diverse; stiamo aspettando il quarto appalesarsi, ma, dato che preferiamo i numeri dispari, ci prepariamo per il quinto.

HOME PAGE DI SELADOR.ME,   Courtesy the artist

HOME PAGE DI SELADOR.ME, Courtesy the artist

Selador

Selador è un atto fonoestetico di insensata bellezza. Selador è una piccola graziosa espressione.

Selador è una contrazione, una crasi, una mutazione linguistica. E’ un ricciolo di parola, saltella, si torce, si distende per poi arricciarsi nuovamente.

Selador sta sempre in mezzo, né qui né là, non è sotto e non è sopra. Non sfugge, ma non si trova, non si attraversa, ma è attraverso. Celador,   Cellador, Salador, Selador, Selerdor, Selidor, Sellador, Selladore. Selador si fa in quattro (o forse quattromila) per spezzare la semantica e risplendere di puro suono. A Selador non va di definirsi, ma di sfinirsi senza stancarsi. Filiazioni, fraintendimenti, distorsioni niente male. 

Questa è la storia di Selador.

Selador_1 # VIDEOGIOCHI

Announcement

VIDEOGIOCHI
A video performance
by Anna Franceschini, Diego Marcon and Federico Chiari (PAD/Piccolo Artigianato Digitale)
Introduced by a conversation with Ilaria Gianni (7pm)
and a dj set by Federico Chiari (8pm)
March 19 – 26
opening March 19, 7 pm

TALK AT CURA BASEMENT – ILARIA GIANNI & P.A.D.  & ILARIA MAROTTA & AUDIENCE,   Courtesy the artist

TALK AT CURA BASEMENT – ILARIA GIANNI & P.A.D. & ILARIA MAROTTA & AUDIENCE, Courtesy the artist and cura.

“At one point, having at hand a portable industrial conveyor belt suggests the collective to make associations addressing its aims and aesthetics. From a mere tool, the mechanical contrivance is transformed into a quasi-narrative device, a generator not only of movement but also of small fictional object-shows. The conveyor belt is the perfect stage for the pseudo short dramatized life and death of an array of pop objects. Two different points along the device mark a beginning and an end.”

PAD AT WORK ON THE CONVEYOR,   Courtesy the artist

PAD AT WORK ON THE CONVEYOR, Courtesy the artist

A finished moment that starts over in a new context, the reactivation of PAD, inactive for so many years, is a reflection of the setting in motion of the objects used in VIDEOGIOCHI. The reactivation of PAD generates a new story.

PAD AT WORK ON THE CONVEYOR,   Courtesy the artist

VIDEOGIOCHI AT CUTA BASEMENT, Courtesy the artist and cura.

PAD AT WORK ON THE CONVEYOR,   Courtesy the artist

VIDEOGIOCHI AT CURA BASEMENT, Courtesy the artist and cura.

PAD AT WORK ON THE CONVEYOR,   Courtesy the artist

VIDEOGIOCHI AT CURA BASEMENT, Courtesy the artist and cura.

 

VIDEOGIOCHI AT CURA BASEMENT
A lively collection of knick-knacks that aims to direct the visitor’s gaze, urging reflection on the need of observation.

SHOPPING AT PIAZZA VITTORIO STORES,   Courtesy the artist

SHOPPING AT PIAZZA VITTORIO STORES, Courtesy the artist

PAD – Piccolo Artigianato Digitale is an acronym with which Diego Marcon (b. 1985) signs some of his early video productions, starting in 2005. In 2006, Marcon’s strengthened friendship with Federico Chiari (b. 1985) and his meeting with Anna Franceschini (b. 1979) turn PAD into a joint effort, and the three decide to sign all of their work with the acronym. PAD focuses on video signal, objects, memories and figure skating. In 2007, the collective makes the video Pattini d’argento [Silver Skates], the performance VIDEOGIOCHI [Video Games], the music compilation TVM Panda Rock, and designs PADmemory, an unfinished board game. PAD breaks up in the winter of 2008.

PAD SELFIE,   Courtesy the artist

PAD SELFIE, Courtesy the artist

Selador_2 # DEAD SEA DEAD LINES

Cari tutti,

è tempo di fare delle presentazioni.

Un primo atto si è già compiuto, un secondo, breve e non replicabile, arriverà tra brevissimo.

Ma qualcosa è destinato a rimanere, in un modo o nell’altro.

Signore e signori, amici miei cari, vicini e lontani, ho il piacere di farvi fare la conoscenza di Selador.

Abbiamo giocato (da Cura Basement, a Roma, con Diego e Federico), stiamo per creare una corrente di dati meravigliosi (con Angelo dal Mar Morto) e allestiremo uno spazio espositivo, che non occupa spazio fisico e che dura nel tempo.

Vi auguriamo una corroborante corrente di immagini e vi promettiamo di tenervi aggiornati quanto basta sui nostri prossimi piccoli passi.

Buona primavera*

Anna e Selador.

Announcement

Dear all,

it’s time to make some introductions.

The first act has already been performed, while the second – brief and unrepeatable – id on its way very shortly.

But something is bound to remain, in one way or another.

Ladies and gentlemen, dear friends near and far, it is my great pleasure to introduce you to Selador.

We have played at Cura Basement, Rome, with   Diego and   Federico, we are about to create a marvellous data stream with Angelo from the Dead Sea and we will set up an exhibition space which does not occupy physical space but which lasts over time.

We wish you an ever-strengthening stream of images, and we promise to keep you up to date as necessary on any steps forward we happen to make.

Enjoy the spring*

Anna and Selador.

INVITATION BY VELA ARBUTINA AND JOHN MCCUSKER,   Courtesy the artist

INVITATION BY VELA ARBUTINA AND JOHN MCCUSKER, Courtesy the artist

SCREENSHOT OF THE LIVE STREAMING OF DEAD SEA DEAD LINES,   Courtesy the artist

SCREENSHOT OF THE LIVE STREAMING OF DEAD SEA DEAD LINES, Courtesy the artist

Selador Anna Franceschini from ATPdiary on Vimeo.

Selador_3 # SUNGLASSES AT NIGHT

Announcement

We’ve never been fond of shutting people off in dark rooms to gain their concentration. We prefer to see you in sunglasses, on a terrace at sunset, with cotton V-neck sweaters staving off the evening breeze.

Selador is proud to be hosted in the open spaces of the Macro Museum in Rome to present you with a selection of texts, curated by Davide Stucchi and Michele D’Aurizio. Texts taken from: Oggetti traditi, a collection of poetry edited by Davide Stucchi, published on the occasion of the current exhibition at the Macro, entitled: Oggetti traditi and from the press releases of the exhibitions at the Gasconade venue, Milan. Texts freely interpreted by: Federico Proietti, Giangiacomo Rossetti, Lupo Borgonovo, Fernando Alba,  Annika Larsonn,  Davide Stucchi and Anna Franceschini

Graphic design by Vela Arbutina and John McCusker.

Sunglasses at night.

Little Red Riding Hood: ‘Hey Lupo, why d’you wear sunglasses at night?’

Lupo: ‘All the better for feeling the music, Little Red.’

‘And also for feeling better about myself ‘, he would think, stepping on the delay pedal of his guitar.

SUNGLASSES AT NIGHT AT MACRO MUSEUM: FEDERICO PROIETTI,   GIANGIACOMO ROSSETTI,   ANNIKA LARSONN,   DAVIDE STUCCHI AND ANNA FRANCESCHINI,   Courtesy the artist

SUNGLASSES AT NIGHT AT MACRO MUSEUM: FEDERICO PROIETTI, GIANGIACOMO ROSSETTI, ANNIKA LARSONN, DAVIDE STUCCHI AND ANNA FRANCESCHINI, Courtesy the artist and Macro museum, photo credits: Luis Do Rosario

Little Red Riding Hood is a class of ‘89 or ’92: she doesn’t know the world without Internet; she doesn’t know boredom like Sartre or Kurt Cobain did because she’s got a smartphone. Her hair is partially bleached, her makeup very pale on her skin and very dark on her lips. When she records her ASMR videos, she puts on a little less makeup: she likes to be fairly natural-looking on the net; she wants her everyday intimacy to shine through. She’s pretty good with video and sound; she has loads of followers, and what makes her stand out from the crowd of ASMR girls are her concessions to literature and poetry. She didn’t introduce these elements right from the start; first she got used to whispering them. After that, after countless motivational sessions, she started to experiment. She bought a new 3D microphone, a Snowball made by Blue: it’s white with chrome on the parts corresponding to the reception areas. It’s an extremely beautiful object, and one of exceptional quality. The sounds it produces are full-bodied and enveloping. Now she can put together some really satisfying soundscapes.

SUNGLASSES AT NIGHT AT MACRO MUSEUM:  ANNIKA LARSONN,   DAVIDE STUCCHI AND ANNA FRANCESCHINI,   Courtesy the artist

SUNGLASSES AT NIGHT AT MACRO MUSEUM:  ANNIKA LARSONN, DAVIDE STUCCHI AND ANNA FRANCESCHINI, Courtesy the artist and Macro Museum, photo credits: Luis Do Rosario

Lupo was born in the early ‘80s, or perhaps late ‘70s. He bears the stigma of that obsolete date of birth, although he’s secretly very proud of it. The Wolf is very familiar with boredom, with real, traditional boredom. The one the put paid to the generation before his and the one before that. Yet he was a smart enough kid to get his smack through a blunt but not through a blunt needle. He gave it all up when he became the guitarist in a hardcore band. All straight-edge guys. The band split up after a few months: long enough to become a local legend, too little to sign a contract with Epitaph. He carried on playing melodic hardcore and slept with a few photo editors, managing to make a bit of cash with fashion shoots and shows. Now he occasionally deals with the organisation of parties and events, and co-produces short films.

Rome has almost the same microclimate as Los Angeles and the same traditional thirst for fiction.

Cinema misses darkness like the desert misses the rain. Someone must have thought of that, at a certain point, up there in Mulholland. Chinatown (R. Polanski, 1974). And so the water was channelled away into the scorched valley, stealing it from the citrus groves, to build huge cinema sets and make great films. The Day of the Locust (J. Schlesinger, 1975). Films produce stars and stars need boredom and sunglasses, as well as oscillating levels of serotonin. Rebel Without a Cause (1955, N. Ray).Then the footage finished and all that’s left are the boredom, the sunglasses and the Xanax. The informers (1994, Bret Easton Ellis). Internet took away the shades and the Xanax (or at least a bit of Xanax, not all of it), and alchemically turned boredom into anhedonia and pixels into wonder. Sex became pinky-smooth, or pearly-white, and rhythmically meditative. Youporn (World Wide Web, 2006). Quite what happened to affection is unknown. ASMR (Facebook, 2010). ASMR, via YouTube, puts affectivity and binaural vibrations back into circulation.

SUNGLASSES AT NIGHT AT MACRO MUSEUM: GIANGIACOMO ROSSETTI,   Courtesy the artist

SUNGLASSES AT NIGHT AT MACRO MUSEUM: GIANGIACOMO ROSSETTI, Courtesy the artist and Macro Museum, photo credits: Luis Do Rosario

SUNGLASSES AT NIGHT AT MACRO MUSEUM: PRINTED LINE UP,   Courtesy the artist

SUNGLASSES AT NIGHT AT MACRO MUSEUM: PRINTED LINE UP, Courtesy the artist and MACRO Museum, photo credits: Luis Do Rosario

selador.me 

(La rubrica DIARY è a cura di Matteo Mottin)