MY MEMORY IS SOMEWHERE ELSE
multimedia exhibition // Roma 2014
Video & Sound Design + Photo Shooting
| Roma, Anna Marra Contemporanea |
An exhibition focusing on the poplar pollen during Spring 2014 in Berlin
Video, installation and photography, curated by Lorenzo Respi
The artist Vincenzo Rulli shows different medias in his last work, a journey in german’s capital with his instruments to collect poplar’s pollen in town, and
use them to develop his personal interpretational code on the conflictual dynamics of the society.
multimedia museum // Brescia 2013
Multimedia Building + Gaffer
| Brescia, Archeologic Area of Capitolium |
The Rituals of Day and Night
The eastern cell of the Capitoline temple, is home to an environment from highly theatrical references, characterized by a staging consisted of several elements.
At the center of the classroom is an “animated model” which is the main attraction and, at the same time, an effective way of introducing the visitor- through the use of its interactive board – to the knowledge and the exploration of the physical and emotional archaeological site.
The second element, equally important, are the two side systems of curtain textiles, whose screens are touch-sensitive surface, allowing visitors to partecipate in the experience of visiting.
Another curtain textiles, this time single, placed over what remains of the votive altar of the cell, in the form of a projection screen is proposed as an additional evocative surface.
6 video projectors, 4 MacMini, 15 capacitive sensors (plastic), two touch sensors (textile hangings), 4 speakers, 2 audio amps
COMMON GROUND: Exitium Milano / GPSme | Milano, Fabbrica del Vapore | Common Ground is a project developed by Klaus Fruchtnis and Pau Garcia common ground / ˈkä-mən ˈgrau̇nd / noun The city has defined itself, since its origin, as a double territory with two qualities: to form a delimited space and, within that space, to connect to other territories. The elements of the city evolve in time, allowing its territory to grow out of its geographical and tangible limits. As a delimited space, it develops a public perception, not only visible (with the right to be overseen) but also accessible (with the right to be visited and experienced) by its inhabitants. Klaus Fruchtnis and Pau Garcia have defined the city of Milan as a common ground for exploration and development for their residency projects. After a couple of weeks working in the field, the artists have reached a common field where they have encountered many intersections to explore together. Their common goal is to discover an intimate city – the one reserved for the inhabitants – a space of flanerie (sauntering) and wandering where a memory of a place can become very personal, whilst at the same time add to the collective definition of the identity of that same place, and the city as a whole. GPSme and Exitium go beyond the bounds of any assumptions about forms. The projects highlight and converge on a personal point of view to describe the joint conjunction of form and consciousness as a collective perception. Technical description:
multimedia exhibition // Milano 2013
Executive Producer + Interactive Multimedia Building + Software Development
with the collaboration of Istituto Europeo di Design and Studio Azzurro, within the FDV Residency program curated by CareOf.
a basis of mutual interest of or agreement
Interactive and partipatory installation
(digital drawing, 3D-audio scultptures, video and audio)
2 videoprojectors, 10 audio speakers, 1 Monitor Touch Screen 24″, 1 Mac Mini,
1 interactive videoplayer HD, 6 audio players, 2 audio amplifier, 6, profile spot lights, interaction systems
| Milano, Fabbrica del Vapore |
Common Ground is a project developed by Klaus Fruchtnis and Pau Garcia
common ground / ˈkä-mən ˈgrau̇nd / noun
The city has defined itself, since its origin, as a double territory with two qualities: to form a delimited space and, within that space, to connect to other territories. The elements of the city evolve in time, allowing its territory to grow out of its geographical and tangible limits. As a delimited space, it develops a public perception, not only visible (with the right to be overseen) but also accessible (with the right to be visited and experienced) by its inhabitants.
Klaus Fruchtnis and Pau Garcia have defined the city of Milan as a common ground for exploration and development for their residency projects. After a couple of weeks working in the field, the artists have reached a common field where they have encountered many intersections to explore together. Their common goal is to discover an intimate city – the one reserved for the inhabitants – a space of flanerie (sauntering) and wandering where a memory of a place can become very personal, whilst at the same time add to the collective definition of the identity of that same place, and the city as a whole.
GPSme and Exitium go beyond the bounds of any assumptions about forms. The projects highlight and converge on a personal point of view to describe the joint conjunction of form and consciousness as a collective perception.
FARE GLI ITALIANI | 1861-2011
multimedia exhibition // Torino 2011
Multimedia Building + Software Development + Executive Production
| Torino, Officine Grandi Riparazioni, “Esperienza Italia 150” |
An Exhibithion for the 150 years of the Italian history
The exhibition is based on a historiographical hypothesis times to give meaning and importance to the process of construction of the Italians through the themes that have mostly pushed towards an integration process or conversely those who have moved away. The art project born of this hypothesis takes shape by comparison with the extraordinary space of the Officine Grandi Riparazioni, a complex of industrial archeology from the ‘900, chosen to host it. In both, are resonating terms that lead to action: making and repairing. It is an exhibition to take part more than to contemplate, an exhibition laboratory more than an exhibition of illustration. There is an intention to create an open scenario, visible, large, limiting to the minimum its fragmentation with vertical divisions trying to enhance the majestic amplitude. The first feature is precisely the size of the open stage, where are found the thematic areas and flowing chronological streams drive the visitor in the progress of historical time and in the succession of events. The second element is the plurality. It’s an Italy where the group is manifested more than the individual and where the icon widespread and repeated is the overall image.
85 videoprojectors, 30 monitor, 46 audio amplifiers, 20 audio mixer,
180 audio speakers (of directional, speaker, subwoofer), 260 lights (of shapers, spots, fireflies and flaps), 110 computer, 73 projection screens (10 holopro screens, 49 holografic film screens, 11 retroprojection screens, 3 frontal projection screens ), interaction systems based on RFID and Tag, 41 RFID antennas, interaction system based on camera-vision technology
MEMUS – ARTE ALL’OPERA, OPERA ALL’ARTE
multimedia museum // Napoli 2011
Software & Hardware Development
| Napoli, Teatro San Carlo |
Studio Azzurro has accepted the challenge given by Memus and revisited the most important and recent productions of the Teatro San Carlo in Naples in six reinterpreting “paraphrase” visuals, six masterpieces of opera, staged by six major international contemporary artists. A multimedia strongly characterized by the narrative and putting the visitor, not with a “point of view” in front of the work on display but with an original and immersive “point of life.” The visit in this section of Memus conforms well as viewing and listening to the music “inside” and not in front of a fantastic and incredible musical instrument. The works of Adami, Kentridge, Kiefer, Marden, Paladino and Paolini, are reinterpreted and staged through screens and fifth-dimensional images with an immersive effect thus allowing the public to be a spectator and at the same time “actor” and protagonist of ‘work.
7 Videoprojectors, 3 Pico Projectors, 6 audio speakers , 2 MAC Pro,
interaction interfaces, 3 systems for sensitive surfaces, 1 Monitor Touch Screen 42”, 8 Light Shapers, 3 audio amplifiers, 1 audio mixer, Projection Screens, Stereoscopic glasses
multimedia exhibition // Roma 2011
Software & Hardware Development
| Roma, Terme di Diocleziano, Biennale Internazionale di Cultura |
City, men and gods on the Silk Roads
The common thread of the three great religions that characterized the land routes of the Silk Road from the second century. B.C. to the fourteenth century A.D. accompanies the visitor along a complex multimedia route that winds in the evocative atmosphere of the Baths of Diocletian, exceptionally open for this occasion by the Superintendence for Archaeological Heritage of Rome. Through the filters of the look, sounds, voices and gestures, the staging media plays twelve emblematic places, able to tell the complexity and the cultural and religious contamination identity of the Silk Roads.
The wooden crate, storage system of the archaeological material stored in these spaces, becomes a metaphor for the journey and support for video installations, useful for the staging that develops here, in time and space, between preciousexhibits and rare pieces that dialogue with large scenarios, echoes of distant voices and stories of places and timeless characters.
The route, which starts with a great animated map, go to Palmyra, Tur ‘Abdin, Ctesiphon, Taq-e Bostan, Merv, Samarkand, Ghazni, the valleys of Swat, Kucha, Turfan, Dunhuang and Xi’an, stops where the journey chase traces draws ancient streets and weaving stories lost in the memory of travelers and people who lived and live in those places. On the way, using scientific advice IsIAO and scientific care of Francesco D’Arelli and Pierfrancesco Callieri, the multimedia installations are a counterpoint to the unique experience of being able to continuously enjoy the works of inestimable value as the Mongolian and Map Bible of Marco Polo, never exhibited before. Works that are offered to us as a precious gift at the end of the trip, and they encapsulate charm and content.
30 Videoprojectors, 14 interactive videoplayer HD, 18 computer,
6 directional audio speakers, 30 passive audio diffusors, 30 audio amp,
11 audio mixer, 1 sensibile carpet, 4 interactive books w/ RFID technology,
4 interactive plumes, 1 system for sensibile surfaces, sensors for interaction, 2 holografic plates, 120 lights, 11 DMX
multimedia museum // Vibo Valentia 2011
Interactive Multimedia Building
| Vibo Valentia, Palazzo Santa Chiara, via Ruggero il Normanno, 2011 |
“Tales of the Horizons” and “The Box Assembly” are two multimedia installations that Studio Azzurro has designed and implemented for “Valentia Sensitive” project under Contemporary Senses to enhance and promote the environmental and cultural heritage of the area, through the expressive language of contemporary art. Valentia Sensitive started its path by defining the cultural map of the vibonese territory to compose the plot of benefit his signs, acting on the contemporary as a tool to enhance the cultural identity and memory of places, connecting technology and art. The video installations represent the start of Valentia Sensitive, which has the ambition to implement the first railway creative – where combining culture, experimentation and tradition – in Calabria.
I racconti degli orizzonti // Tales of the Horizons
8 monitor LCD 50” w/ integrated audio, 8x on air system on 8 memory boards, 1 main system w/ cpu for sensors, audio, video, data
La scatola di montaggio // The Box Assembly
1computer, 1 monitor LCD 50” w/ integrated audio, 1 touchpad