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If so, please try restarting your browser. Posted by Tg3. Marco Cosenza al Tg3 delle 19 del 12 novembre O, meglio, non solo. In un fablab si usano le tecniche del codesign e gli strumenti della manifattura digitale per realizzare innovazione socialmente utile. Netflix presenta "Fibonacci, la serie": pronte le stagioni 1, 1, 2 e 3. Un grande tributo al matematico italiano Leonardo Pisano detto il Fibonacci — circa. Da sempre MFR dedica grande spazio alle tecnologie applicate nel campo dello sport e del benessere. A rise and a fall, a rise and a fall.
Rorandelli describes the abstract pieces as an exploration of the elements soil and water, both of which are changing into something foreign through human contamination. Nature, in its turn, adapts.
Four of the canvases are named after the basic chemical components of soil, and two are named for elements found in water. Each formula of elements has been modified and unbalanced, and the result is a permanent and unprecedented chemical combination. In representing these elements, materials are glued, pulled and hung from the surface of the canvas to cover and obscure the underlying layers, creating tension, a frantic movement, to find order in chaos.
Their fractures and openings let the viewer take a peak at the past and into the future of an increasingly artificial humanity. Her pieces revive the natural character in the pigments, objects, and the scraps of fabrics that she finds.
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In doing so, these materials acquire an importance for their own plastic qualities as she emphasizes their beauty and force. Forse, allora, le bellissime sono robot, o androidi, corpi post-umani, con ingranaggi e bytes al posto di cellule e vasi sanguigni. Donne-robot, dunque, o vere epropie avatar, le donne impassibili della Rorandelli, creature rese aliene dalla tecnica, pur nella permanenza di sembianze somatiche umane, come in un film di ordinaria fantascienza?
Celata dietro quelle pose artefatte e standardizzate che riducono la donna a un mero involucro erotico. Le opere pittoriche sono realizzate a tecnica mista ed appaiono a primo acchito non solo come detto, ancorate ad un certo tipo di passato artistico, ma sapientemente elaborate, creando e rilasciando una profusa ed estesa armonia tra le parti. Ci saranno forse solo alberi. In these most recent works by Eva Rorandelli Florence, , a sequence of sinuous and attractive well-dressed female figures traipse through each canvas with a starkly unemotional and mildly provocative assurance amidst languid undulating blobs of stylized textures evocative of human tissue.
Consciously referencing a history of representation spanning Giotto to Italian contemporaries such as Vanessa Beecroft and Margherita Manzelli, these latest works by the Italian former model draw on her classical training with layered folds of resonant color to become abstract interpretations of our technological subconscious. This exhibition, titled Subliminal Figurations , presents 16 new canvases depicting an all-female world.
In them, Rorandelli employs a delicate style of subject-oriented realism to comment on the changing roles of history and identity in contemporary life. Centered in each composition and often meeting the viewer's gaze directly if not flippantly ignoring it , her figures evoke an idealized beauty that, while observably influenced by the language of fashion publicity, are more akin to the inspired traditions of Pontormo and the Florentine Mannerists revived for the purposes of contemporary discourse.
Since Rorandelli first moved from Italy to the United States her work has undergone a remarkable transformation. Having studied painting in Florence from a young age, attending the Accademia di Belle Arte di Firenze following an apprenticeship in the studio of master Italian landscape painter Italo Pettinato, her early work focused on landscapes in oil with respect for tradition.
Both methodologies of teaching stressed a figurative formality driving a clear ideological distinction between divergent schools of contemporary artistic practice, favoring a rigorous form of realism over what was perceived as the Americanized influence and degeneration of contemporary art dominated by commercialized conceptual marketeering.
Yet despite this schooling, Rorandelli's work has always reflected a passion for the colorful and intricate contradictions of modern life. Her initial reactions to the bleak Italian quarter of Brooklyn where she soon found herself were expressionistic and vivid, depicting, for the most part, scenes of vibrant objects such as paint cans, brushes, shoes, books and disembodied trees, often standing in front of the skyscrapers of the Manhattan skyline.
Several years later, her first major series of large format canvases—exhibited at Palazzo Morana in Trapani, Sicily, and titled Electroshock —contained wild abstractions of colorful shapes inspired by the multitudes of objects discarded on the streets of New York. The result was not simply a celebration of abstraction, but a profound foray into the machinery of our imminent posthuman future. Subliminal Figurations builds on this theme, presenting a technological world in which image and identity are inseparably conjoined.
At first glance Rorandelli's figurations could seem an aesthetic assertion: today's demure beauty-Goddess wears prismacolor attire on a fragmented mediascape textile stage. For while strikingly different in both color and character from one to the next, each figure in the series reflects an aspect of the romantic facade present in our collective desire for beauty. Indeed, the uniqueness of each individual is evident only in contrast to the overwhelming sameness of her situation, a situation in this case that seems to demand an often empathic gaze of pity or altruism not dissimilar from that of the Madonna in much Western painting.
Thus despite the infiltration of mysterious oblong forms into their midsts, Rorandelli's figures seem to arrive from a higher plane—deities reminiscent of a forgotten history of Byzantine icons or the works of Vittorio Zecchin or Gustav Klimt and his Viennese contemporaries for their flat compositions and dappling with gold. Even Rorandelli's most apocalyptic visions have decorative roots, their embellishments heightening the anxieties and desires of the women they depict. There is a luminous quality in her handling of paint, the backgrounds of her pictures unexplainable abstractions of crumpled color that becomes cloth, the interior shining broken only by the curvature of occasional flesh.
Each figure's wrappings are at once skin, spirit, and self—they are her world —and thus comment less on the nature of style per-se as on the artificial being it has helped her become. In so doing, Rorandelli's figures reflect a compulsory embrace of the tools of our age. Fueled by the interconnective forces of participatory media, our identities are enabled, embodied, and projected on the world.
In Rorandelli's conception, such extension is made possible not through the evident use of robotic prostheses or consumer electronics, but by the pervasive and emblematic technologies of attire. Our technologies, in bestowing us extensions of both image and environment, bring unprecedented levels of unease to their wearers. All of us, through our collaborations or rejections of the social machine, contribute in some part to our own domination.
From nano-robotics to consumer technology, the tools we employ are extensions of the self, of the power and powerless nature of change. Rorandelli has little interest in representing specific identities, but rather the fear of their erasure. The reach of our surroundings lies increasingly in our access to the infrastructures of identity, whose effects spread beyond the personal comforts of physical presence to a globalized superculture of meta-cognition.
Already, humanity can be seen as a vastly complex and intelligent networked bio-robotic organism relying on a complicated web of such underlying networks, including food production, agriculture and the energy sector to feed our constructed and biological machines, globalized economies to distribute resources, and scientific and artistic research to stimulate its technocultural consciousness.
Writing on the Work — Eva Rorandelli
Increasingly we find ourselves trapped in a cycle of short-term benefit with unanticipated long term consequences. Not only must our actions ensure the sustainable wellness of the planet, they must also protect the developing ecosystem of our collective mind. It is for this reason that, while Rorandelli's figures address this reality with a mannerist edge, the synonymous nature of "manner" and "fashion" is not mere coincidence; both refer to the subtle workings of society and changing acceptance of the ways in which we live.
The ephemeral nature of material culture, its recursive self-projection of consumption and display, is laid bare in the disintegration of this textile self in a veritable sea of subjective opinion. In all of these paintings—many of large dimensions and most containing at least one figure—the background has an alien and enveloping quality.
It seems at times that the figure is being watched or consumed, by an already intelligent presence or otherworldly observers. Or that the figure herself is a prism, melting into organic geometries of skin and surroundings, her clothes an aspect of an extended being. She is consumed by her stage, by the perceptions of others in the reflections of her self, by her finite response to an infinite void.
Rorandelli presents the human on a stage of uncertainty, employing a variety of methods for her form to dissolve. In Red Figuration and White Figuration , for example see plates 6 and 1, respectively , the figures are caught in a somewhat off-pose. Both paintings share similar construction: the clothed figure, with eventwear attire of Japan-esque origin, stands frozen in front of a ground of abstraction. In the case of the first, her body is draped with a triangle dress and the strap of a bag, her figure surrounded by blood-like globules that seem almost certainly living.
Her clothes have a flatness that challenge her depth, reducing it to that of a cardboard relief, and her expression seems similarly unsure of her bodily dimension. The second figure is trapped in a nonchalant stroll, a sandy coral-patterned bag swinging back from her shoulder. Her background is a wall of translucent fabric or tissuey folds. Both figures are solid, but frozen in a seemingly reactive environment. They are paralyzed—infectious presences on a background plane that looks willing to consume them as unwanted visitors in an immune system of cloth.
In several other paintings, by contrast, the figure itself is conspicuously absent.
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This is exemplified well by Contamination plate 3 , a canvas in which her dress, volumetric and blue, remains vacant on a hanger with symmetrical poise. In this work as in others, there is a holographic quality to the canvas—not only for its vertical format and dimensions comparable to a full-length mirror—but for the rippled reflections of enveloping light. Gold pigment runs in veins as it would through the earth, a geological cloth of prosthetic skin.
And while striking for its frontal composition, it seems evident that the dress is in motion, or rather that the world is in motion as a backdrop to the dress, the frame of the canvas panning in pursuit.
Homo technologicus, oltre i limiti dell'umano
Negli interventi di ricostruzione vengono utilizzate protesi in silicone: una tecnologia vecchia di 35 anni, che porta con se ancora numerosi rischi. Le protesi che Tensive sta sviluppando sono basate su tecnologie concepite, sviluppate e brevettate nei laboratori di Fondazione Filarete da un gruppo di ricerca della Statale di Milano, comprendente i quattro fondatori: Irini Gerges, Federico Martello, Alessandro Tocchio e Margherita Tamplenizza.
Tensive has been invited to present his business idea to international investors Lausanne, Switzerland. Tensive has been selected to present the last scientific results of his research on biomaterials for Regenerative Medicine Tel Aviv, Israel. Toggle navigation. November 27, Tensive wins the Gaetano Marzotto Prize.
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