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HOME / PUBBLICAZIONI / COLLÒCULI > WE ARE ART
Marcello Palminteri
Curator
What is the legacy of a medial form that we have received and continue to receive from an advanced technological experience? This is undoubtedly an issue concerning the acceptance of a new form. But what is involved in receiving such mediality? The legacy of a media experience necessarily points to a highly mediated reception.
Inheriting a mediality means living an interaction, questioning its installations and its virtual images, its stimuli, its depths. The only true mediality is therefore the gift of the unexpected, the real content that a sensitivity can transmit.
The form, for Annalaura di Luggo, is the concretization of the need to invade and break through the space, to welcome not only one’s own imaginary universe (which could be, at this stage, in its raw state) but also to constitute a landing territory, where to develop poetics in progress, or conceptual processes formalized in the use of new technologies, towards which the artist (since the experiences of “Blind Vision”) is naturally seduced. Thus, the passage to a third dimension is achieved by proceeding towards a fluid transmutation of the idea, according to a precise logic of approaching the topic under discussion, first studied and experienced through the comparison with the collective fabric (i.e., through the real and emotional involvement of people who, in one way or another, will converge in the work) and then with a systematic practice of preparation that puts the artist in an indispensable growth process while giving life to photos, sketches and digital frames. There’s more. The interaction overturns and inverts the intertwining of techniques: there is a continuous knotting between suggestions and inner landscapes, between the inherent necessity of the modus operandi and the contingency of the messages, commensurate both from a technological and a human point of view. Indeed, the technical plan guides the new aesthetic codification: the placing of the technique materially and physically how to proceed in a frontal direction not only forces the various oral suggestions to a single course, but also submits the stimuli, the trends.
Commenting on Collòculi, Gabriele Perretta writes that it is the image in motion, it indulges in a constant sequencing, correspondence and muldimesionality. In the ultimate analysis, this is mimesis, a game of humanity and networks, of presences and metaverses, such as images seen in an increased environment.
Therefore, besides formal and technological research, the works of Annalaura di Luggo (even the apparently simplest ones) always require a careful study of both materials (with a particular commitment to respecting the environment) and of developments suitable to give aspect and topic to the digital experience.
Historical documentation and constructive innovation become a form of society by stimulating, in the diversity of points of view, interesting processes of multidisciplinary reciprocity, aimed at overcoming the sterile conceptual approach to shift the technological offer towards experiments and experiences that have their only reason for existing in the contamination between man and painting, sculpture, photography, video, design, sound, word: ultimately between life and art.