In January 2017 on Internet stream, SmartTV app, AppleTV.
Or watch it anytime on ikono On Demand
ABOUT THE ARTWORKS
MOVEMENT OF AN IMPOSSIBLE TIME
The elements of this video are the ruins of a house for attracting birds, the first movement of the Quartet in F major by Maurice Ravel and then rain, wind, snow and fog. A long take presents, in a far-fetched sequence, the four meteorological elements which befall the different portions of the ruins. The four musical instruments, performing the quartet, cease to be an ensemble and become, individually, the audio tracks corresponding to each of weather. So the sound of the first violin drips as the rain, that one of the second violin is snow-muffled, the sound of the viola moves like the wind and that one of the cello reverberates like inside the fog.
In this work are visible the causes of a change. The time of a metamorphosis is concentrated or accelerated by the simultaneity of its causes. Just as in music, in this video there are the different weather conditions to appear individually before reaching a far-fetched choral weather.
The sound, become solid, undergoes climate agents.
A town observed from the hill facing it is treated as an architectural model illuminated by the lights of a home interior. The sounds cancel the distance of the shot, amplifying the details of places and actions lit up by beams of light. Places and actions which appear as miniatures and are animated by the turning on and off of the lights in the room. The sounds of a wind band shift and double. The aria of an opera, deprived of voice, reverberates in the subtracted lights and landscape.
It is sunset in a mountain landscape. An orchestra and a choir, along with a large group of adolescents who act as "living-music-stands", are filmed as they play the first part of Mahler’s 8th Symphony. The musicians gradually begin to move in a precise choreography, led by their living-music-stands. As these movements are executed, disparate groups of musicians, singers, and living-music-stands begin to disappear along with the sounds that they emit. The music progressively becomes a sound object captured in the course of its own erosion, which corresponds to the slow dissolution of the landscape’s visibility due to the setting sun. Ultimately, the music as a sound object and the landscape as a visual object become identical, all while being completely transformed in regard to the starting configuration. Thus, in TRENTO SYMPHONIA, the landscape becomes a point of convergence between contemplation, correspondence, and imagination.
CANNOT BE ANYTHING AGAINST THE WIND
Sequences of landscapes shot in an area of 60 km make up mosaics of places and reference axes constantly changing and that do not exist in our surroundings. In this video bodies are not near or far. They are large or small. The horizons change and no space is independent from the viewer. Incorporating only memory, the landscape is seen in a variety of speeds and movements that apply a bodily logic to the vision.