Experience the Blue Angels, 2018
Experience the Blue Angels in the 360-degree video, 8:03 min.
The Blue Angels in 17.368,68 m printed video experience
Installation site-specific
Video Projection + Digital Print
The idea is to think of the time of the viewing experience of a 360 video and transport it into the viewing experience of its printed representation (impossible to see in its entirety – it’s 17.368,68 m !!!)
Unlike the positive printing of a cinematographic film, the 360 video file is a closed time bubble – without history, scene changes and direction – which I ideally try to unroll and measure its viewing time/surface through re-mediation through the print.
The 360 technology seems to confirm that everything is visible, not only because everything is subject to the eye of the seeing (albeit electronic), eliminating privacy and distances, but also because the 360 enhances and opens the vision while making visible what is in front of it and what is behind the focal length. Therefore, the last taboo, that of subjectivity, also falls. It is no longer possible for the viewer to identify with the electronic eye, the 360 vision becomes another vision, augmented, incompatible with our visual experience.
But if, as said, everything is visible, is it possible to see everything? Alessandra seems to move to start from this question and she does it by designing a work that deliberately confronts us with the limit of vision. In other words, he plans to print an entire film shot in 360 in one and only image, respecting the original dimensions, without making any discretionary intervention.
A movie is the sum of thousands of sequential frames one to the other, just as hours and time are the results of the succession of moments, seconds. To translate the movie into a single image, therefore, Alessandra must ignore the time factor and make all the frames of the movie simultaneously available to the viewer, simultaneously perceivable, as an image, in a single and timeless glance.
The result is a 17 km long print, as fascinating as it is unstoppable. How is it possible for the artist to propose a 17 km long image? And how could the viewer enjoy this image regardless of the time factor?
The purpose turns out to be impossible, so much so that the final result appears to us as an artefact and not as an image. The 17 km long print can only be presented as a huge roll of photographic paper that will only partially reveal the printed image. A few meters, no more. The rest of that impossible image will be barred from seeing like the mass of an iceberg below sea level.
Alessandra plays with time, tries to translate a movie into an image but what she gets is an image that denies herself unless she presents herself as an object, sculpture, installation. An animation (the original movie) that becomes a sculptural object, almost the reverse of the myth of Pygmalion.
by Luca Christian Mander
Rock-Paper-Scissors-Lizard-Spock
Alessandra Arnò | Simona Da Pozzo | Marisol Malatesta
Vegapunk
Via Lazzaro Palazzi 9, 20124 Milan
Subway Porta Venezia
From 5 to 20 October 2018
