Your browser does not support the video tag.
Your browser does not support the video tag.
Marco Cadioli - The Whirlpool
  • © ARSHAKE | ISSN 2283-3676
  • CONTACT
  • Login
Arshake
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • Focus
    • From the Past
    • Interview
    Ars Electronica 2025

    Ars Electronica 2025

    Identities Beyond Borders

    Identities Beyond Borders

    Stills of PEACE

    Stills of PEACE

    Tamara Repetto receives Premio Casati 2025

    Tamara Repetto receives Premio Casati 2025

    Dialogues across the Seas

    Dialogues across the Seas

    Timeline Shift at Pastificio Cerere Foundation in Rome

    Cardiff & Miller at the Coimbra Biennial

    Timeline Shift at Pastificio Cerere Foundation in Rome

    Timeline Shift at Pastificio Cerere Foundation in Rome

    Pamela Diamante at the Gilda Lavia Gallery

    Pamela Diamante at the Gilda Lavia Gallery

    Arcangelo Sassolino at the Continua Gallery

    Arcangelo Sassolino at the Continua Gallery

  • FRAME
    FRAME > Ex.A.R.U.

    FRAME > Ex.A.R.U.

    FRAME > A CROWN OF EYES

    FRAME > A CROWN OF EYES

    FRAME > Stop, Listen, Look

    FRAME > Stop, Listen, Look

    FRAME > Shining Hat

    FRAME > Shining Hat

    FRAME > To Breathe

    FRAME > To Breathe

    FRAME >  The fairies will find us if we leave a trail

    FRAME > The fairies will find us if we leave a trail

    FRAME > Hundred Changes in Life

    FRAME > Hundred Changes in Life

    FRAME >  Large Resemblagé

    FRAME > Large Resemblagé

    FRAME > Rubber Pencil Devil

    FRAME > Rubber Pencil Devil

  • VIDEO POST
    VIDEO POST > GUSH

    VIDEO POST > GUSH

    VIDEO POST > Trampoline Color Exercise

    VIDEO POST > Trampoline Color Exercise

    VIDEO POST > Céleste

    VIDEO POST > Céleste

    VIDEO POST > Augmented Shadow: Inside

    VIDEO POST > Augmented Shadow: Inside

    VIDEO POST > Anthofluid

    VIDEO POST > Anthofluid

    VIDEO POST > Isoscope

    VIDEO POST > Isoscope

    VIDEO POST > Kihikihi

    VIDEO POST > Kihikihi

    VIDEO POST > Triosophia

    VIDEO POST > Triosophia

    VIDEO POST > Kosei Komatsu

    VIDEO POST > Kosei Komatsu

  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
    • GAME OVER • Loading
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • ARCHIVE
    • CALLS
    • ONLINE RESOUCES
  • it IT
  • en English
No Result
View All Result
Arshake
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • Focus
    • From the Past
    • Interview
    Ars Electronica 2025

    Ars Electronica 2025

    Identities Beyond Borders

    Identities Beyond Borders

    Stills of PEACE

    Stills of PEACE

    Tamara Repetto receives Premio Casati 2025

    Tamara Repetto receives Premio Casati 2025

    Dialogues across the Seas

    Dialogues across the Seas

    Timeline Shift at Pastificio Cerere Foundation in Rome

    Cardiff & Miller at the Coimbra Biennial

    Timeline Shift at Pastificio Cerere Foundation in Rome

    Timeline Shift at Pastificio Cerere Foundation in Rome

    Pamela Diamante at the Gilda Lavia Gallery

    Pamela Diamante at the Gilda Lavia Gallery

    Arcangelo Sassolino at the Continua Gallery

    Arcangelo Sassolino at the Continua Gallery

  • FRAME
    FRAME > Ex.A.R.U.

    FRAME > Ex.A.R.U.

    FRAME > A CROWN OF EYES

    FRAME > A CROWN OF EYES

    FRAME > Stop, Listen, Look

    FRAME > Stop, Listen, Look

    FRAME > Shining Hat

    FRAME > Shining Hat

    FRAME > To Breathe

    FRAME > To Breathe

    FRAME >  The fairies will find us if we leave a trail

    FRAME > The fairies will find us if we leave a trail

    FRAME > Hundred Changes in Life

    FRAME > Hundred Changes in Life

    FRAME >  Large Resemblagé

    FRAME > Large Resemblagé

    FRAME > Rubber Pencil Devil

    FRAME > Rubber Pencil Devil

  • VIDEO POST
    VIDEO POST > GUSH

    VIDEO POST > GUSH

    VIDEO POST > Trampoline Color Exercise

    VIDEO POST > Trampoline Color Exercise

    VIDEO POST > Céleste

    VIDEO POST > Céleste

    VIDEO POST > Augmented Shadow: Inside

    VIDEO POST > Augmented Shadow: Inside

    VIDEO POST > Anthofluid

    VIDEO POST > Anthofluid

    VIDEO POST > Isoscope

    VIDEO POST > Isoscope

    VIDEO POST > Kihikihi

    VIDEO POST > Kihikihi

    VIDEO POST > Triosophia

    VIDEO POST > Triosophia

    VIDEO POST > Kosei Komatsu

    VIDEO POST > Kosei Komatsu

  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
    • GAME OVER • Loading
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • ARCHIVE
    • CALLS
    • ONLINE RESOUCES
No Result
View All Result
Arshake
No Result
View All Result
Home News Focus

Chance and Control. Photography, video and the web.

Elena Giulia Rossi by Elena Giulia Rossi
28/04/2014
in Focus

02. Michelangelo Antonioni, “Blow Up”, 1966

Photography, videos and web are the protagonists of a recently published essay by Luca Panaro for Postmedia Books. The creative use of technology is examined here in a transversal and interdisciplinary key that places the spotlight on the themes of «chance» and «control». The thread that sews technology and creative technique together (including photography, cinema, video art, net art etc.) coincides with the liminal space that exists between «chance» and «control». Control is what the author relies upon in his conscious intention to launch a process that is knowingly bound to be defined «in» and «with» chance and in the astonishment that the unexpected result induces.

08. Franco Vaccari, Photomatic d'Italia, 1972-1974

The autonomy of the means is brought to the foreground by the beliefs of philosophers (Benjamin, Flusser), writers  as well as through art. Camera operator Serafino Gubbio, the protagonist of Luigi Pirandello’s novel I Quaderni di Serafino Gubbio operatore (1925) who became a spectator at the hands of the camera, introduces the subject with a literary example that makes the reader immediately grasp the essay’s interdisciplinary slant.

The autonomy of photographic and movie cameras are then analyzed through the beliefs and works of Andy Warhol (the artist who wanted to be a camera) and Franco Vaccari who, according to Panari, «is to be credited with having supported the autonomy of this means right to the end». All of this intersects with cinema of the past and present: Buster Keaton’s The Cameraman (1928), in which even a trained monkey is capable of using a camera, and Michelangelo Antonioni’s Blow Up where a situation imperceptible to the human eye revealed on film determines the entire plot.

The reproduced image, in both static form and in motion, announces artistic genres’ extension to new techniques and new creative logic. In the past, a painted portrait had the property of freezing the virtue of men and women while today it can be manifested in motion as well; the result subordinated to chance, at times. The video-portrait of Zidane (Zidane: A 21st Century Portrait, 2006) by Douglas Gordon and Philippe Parreno that shows the footballer being expelled from a match is a blatant example.

14. Carlo Zanni, Carlo Zanni, The Possible Ties Between Illness and Success, 2006-2007

Autonomy and unpredictability of the means then follow on the web, where the space coincide with the instrument and where potentials of creating generative processes and the possibilities of real time filming can concomitantly become means and subject of the work. In the experimentations on the web mentioned by Panaro, the unpredictability is consciously identified by the authors who then withdraw from the scene to «attend» the conclusion of the work.  Camera Caritatis (1999-2006) created by polyhedral artist Roberto Cuoghi leaves space and action to the users in the name of an anonymous work. In the storyline of short movie The Ties Between Illness and Success, by Carlo Zanni, by the author defined in the new genre of «data-cinema», the illness worsens in proportion to the number of users accessing the site, thus placing it in close relation to its success – hence to data and access. No Fun (2010) by an artistic duo known – among other pseudonym- as Eva and Franco Mattes staged a make-believe suicide in video-chat to document the reaction of users who were not aware of being observed.

15. Eva e Franco Mattes, No Fun, 2010 (Exhibition view, CarrollFletcher, London, Photo by Julian Abrams)

Therefore, it can happen that an intersection with chance is the element which determines a work’s flooding over from one genre to another. 2001,  by German artist Wolfgang Staehle, exhibited at New York’s Postmaster’s Gallery as a video portrait of the city’s landscape included a real time filming of the Twin Towers.  In the contemporaneity of the events (with the September 11 attack on the Twin Towers), the work was transformed into the tragic filming of the 2001 terrorist attack.  The unexpected in this case immediately transposes the work into a media sphere to become part of it as real time documentation. This is a mercurial essay with a transversal slant that not only extends over genres and times but it also places emphasis on how all these peculiarities of automatism and interaction find their roots way back in time to the analogical era.


Luca Panaro, «Casualità e controllo. Fotografia, video, web», postmedia books, Milano 2014

Images

(cover) Roberto Cuoghi, In Camera Caritatis, 1999-2006 (1) Michelangelo Antonioni, Blow up, 1966, still from film (2) Franco Vaccari, Photomatic d’Italia, 1972-1974.(3) Carlo Zanni, The Possible Ties Between Illness and Success, 2006-2007, still from video  (4) Eva e Franco Mattes, No Fun, 201o.

ShareTweetShareSend
Previous Post

FRAME > Brush Stroke

Next Post

«Tempo Imperfetto»

Elena Giulia Rossi

Elena Giulia Rossi

Related Posts

Ars Electronica 2025
Festivals

Ars Electronica 2025

by Arshake
12/07/2025
Identities Beyond Borders
Events

Identities Beyond Borders

by Arshake
08/07/2025

CALLS

Experimental Fellowship at Bauhaus Earth
Calls

Experimental Fellowship at Bauhaus Earth

14/05/2025
Open call – Schermo dell’Arte
Calls

Open call – Schermo dell’Arte

07/05/2025
Open Call: State of the ART(ist)
Calls

Open Call: State of the ART(ist)

05/05/2025
RE:HUMANISM Art Prize 4
Calls

RE:HUMANISM Art Prize 4

18/03/2025
https://www.arshake.com/special-project-banner/young-italian-artists/
Facebook Twitter Instagram

Arshake is a collaborative artistic project, blurring the borders between art, science and technology, information and production.

  • Focus
  • Video post
  • Frame
  • Special Project
  • Interview
  • Calls
  • Exhibitions

One more step - Check your email and click the confirmation link

© 2024 – ARSHAKE

Welcome Back!

Login to your account below

Forgotten Password?

Retrieve your password

Please enter your username or email address to reset your password.

Log In
Gestisci Consenso Cookie
Per fornire le migliori esperienze, utilizziamo tecnologie come i cookie per memorizzare e/o accedere alle informazioni del dispositivo. Il consenso a queste tecnologie ci permetterà di elaborare dati come il comportamento di navigazione o ID unici su questo sito. Non acconsentire o ritirare il consenso può influire negativamente su alcune caratteristiche e funzioni.
Funzionale Always active
L'archiviazione tecnica o l'accesso sono strettamente necessari al fine legittimo di consentire l'uso di un servizio specifico esplicitamente richiesto dall'abbonato o dall'utente, o al solo scopo di effettuare la trasmissione di una comunicazione su una rete di comunicazione elettronica.
Preferenze
L'archiviazione tecnica o l'accesso sono necessari per lo scopo legittimo di memorizzare le preferenze che non sono richieste dall'abbonato o dall'utente.
Statistiche
L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici. L'archiviazione tecnica o l'accesso che viene utilizzato esclusivamente per scopi statistici anonimi. Senza un mandato di comparizione, una conformità volontaria da parte del vostro Fornitore di Servizi Internet, o ulteriori registrazioni da parte di terzi, le informazioni memorizzate o recuperate per questo scopo da sole non possono di solito essere utilizzate per l'identificazione.
Marketing
L'archiviazione tecnica o l'accesso sono necessari per creare profili di utenti per inviare pubblicità, o per tracciare l'utente su un sito web o su diversi siti web per scopi di marketing simili.
Manage options Manage services Manage {vendor_count} vendors Read more about these purposes
Visualizza le preferenze
{title} {title} {title}
No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
  • FRAME
  • VIDEO POST
  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
    • GAME OVER • Loading
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • ARCHIVE
    • CALLS
    • ONLINE RESOUCES

© 2024 – ARSHAKE

This website uses cookies. By continuing to use this website you are giving consent to cookies being used. Visit our Privacy and Cookie Policy.