Giacomo Verde (1956-2020). From the techno-artist’s archive to book, exhibition and movie

Renzo Boldrini with Giacomo Verde and a friend © Giallo Mare Minimal Teatro Archive
Portrait of Giacomo Verde
Scene from "Il gatto con gli stivali. Un racconto per il digitale" © Campsirago Residenza
Giacomo Verde/Giallo Mare Minimal Teatro, "Hansel & Gretel Tv" © Giuseppe Murador and Giacomo Verde Archive

key details

9, 16, 23, 30 November 2022
Online on Zoom
4pm — 6pm (CET)

lecturers

  • Anna Maria Monteverdi | Università Statale, Milano
  • Tommaso Verde | Game Designer
  • Flavia Dalila D’Amico | Università di Roma La Sapienza
  • Vincenzo Sansone | Università Statale, Milano
  • Raffaella Rivi | Videomaker

the course

Giacomo Verde (Cimitile 1956 – Lucca 2020) in forty years of artistic activity has dealt with different languages such as street theatre, video art, painting, drawing, performance, Net Art with the idea of investigating contaminations between media to create works in which different artistic techniques coexist in an “artivist” spirit.

Programme

The course, curated by Anna Maria Monteverdi, is structured in 4 meetings and is held in Italian.

November 9, 2022

L’archivio di un artivista. Giacomo Verde (1956-2020)

  • Anna Maria Monteverdi
  • Tommaso Verde

November 16, 2022

Attraversamenti: le ultrascene di Giacomo Verde

  • Flavia Dalila D'Amico

November 23, 2022

Giacomo Verde: il teleracconto e i suoi doppi. La reinvenzione di una tecnica videoteatrale per bambini.

  • Vincenzo Sansone

November 23, 2022

Dall'archivio al film

  • Raffaella Rivi
1/4 L’archivio di un artivista. Giacomo Verde (1956-2020)
2/4 Attraversamenti: le ultrascene di Giacomo Verde
3/4 Giacomo Verde: il teleracconto e i suoi doppi. La reinvenzione di una tecnica videoteatrale per bambini.
4/4 Dall'archivio al film

Gazing Machines

Quayola Pleasant Places, Glow Festival Eindhoven
portrait of the artist with red digital background
Quayola Portrait © Skino Ricci
Quayola, Sculpture Factory, Paradise Art Space, Asymmetric-Archaeology, Seoul_South-Korea, 2018-2019
Quayola, Remains, HOW Art Museum, Asymmetric Archaeology, Gazing Machines, Shanghai, 2019

key details

12 December 2022
Online on Zoom / Onsite at ARCHiVe
4pm — 6pm (CET)

about

A lecture by Quayola, artist who employs technology as a lens to explore the tensions and equilibriums between seemingly opposing forces: the real and artificial, figurative and abstract, old and new. Constructing immersive installations, he engages with and re-imagines canonical imagery through contemporary technology. Landscape painting, classical sculpture and iconography are some of the historical aesthetics that serve as a point of departure for Quayola’s hybrid compositions. His varied practice, all deriving from custom computer software, also includes audiovisual performance, immersive video installations, sculpture, and works on paper. His work has been performed and exhibited in many prestigious institutions worldwide including V&A Museum, London; Park Avenue Armory, New York; National Art Center, Tokyo; UCCA, Beijing; How Art Museum, Shanghai; SeMA, Seoul; Palais de Tokyo, Paris; Ars Electronica, Linz; Sonar Festival, Barcelona and Sundance Film Festival.

Also a frequent collaborator on musical projects, Quayola has worked with composers, orchestras and musicians including London Contemporary Orchestra, National Orchestra of Bordeaux, Ensemble Intercontemporain, Vanessa Wagner, Jamie XX, Mira Calix, Plaid and Tale Of Us. In 2013, Quayola was awarded the Golden Nica at Ars Electronica.

Lecturer

Davide Quayola

Born in 1982 in Rome, he quickly tried to get away from the Italian capital and its historical iconography, choosing to move to London at the age of 19 to seek new subjects, a new language and a new way of expression. In 2005, he obtained an art degree from the University of London. Through his enigmatic videos, Quayola creates hybrid spaces of animated painting and sculpture. Using a procedure of audio-visual performance, drawing, photography and software programming, he explores a fine line between the real and the artificial.

The Third Thing. On Digital Photography

Jaipur #8 © Ljubodrag Andric
Bundi #1 © Ljubodrag Andric
Villa Farsetti, Treviso #12 © Ljubodrag Andric
Venezia, Fondazione G. Cini #9 © Ljubodrag Andric
Japur #30 © Ljubodrag Andric
Napoli, Casa Morra #11 © Ljubodrag Andric

key details

26 April 2023, 4pm — 6pm (CET)
27 April 2023, 9am — 1pm (CET)
Online on Zoom / Onsite at Fondazione Giorgio Cini

about

Two days dedicated to the digital image and its role in the contemporary world, through the work method of photographer and artist Ljubodrag Andric. His research investigates the relationship between space and architecture and revolves around the re-contextualisation of the urban landscape.
The programme includes a lecture and a photographic promenade around the spaces of the Fondazione Giorgio Cini on the Island of San Giorgio Maggiore, Venice.

Programme

April 26, 2023

On Digital Photography

Starting from an investigation into the technical evolution of photography in the digital era, Ljubodrag Andric proposes a reflection on the current over-production of “weightless” photographic images, as much due to their ephemeral nature as to their lack of adherence to a narrative of reality.

April 27, 2023

Photographic Promenade

Symposium around the Island of San Giorgio Maggiore, in order to explore the methodological part of the artist’s work and the themes raised during the previous lecture from a practical point of view.

Lecturer

Ljubodrag Andric

Born in Belgrade, Yugoslavia in 1965 into a family of artists, Andric started his involvement with art and photography at the age of 15. He studied humanities at the University of Belgrade, then dedicated himself entirely to photography in 1987. At age 21 Andric received his first professional commissions of mostly architectural photography. He had his first exhibition – at the gallery of the Museum of Contemporary Art in Belgrade – at the age of 23. In 1987 Andric moved to Rome, Italy where he had successful studio practices in both Rome and Milan over the following 15 years, before moving to Canada in 2002. He won numerous international awards.

 

On Digital Photography by Ljubodrag Andric