Coming from the fact that there is a phenomenon of fear present since the very beginning of human race, and that it is actual ever since, it was very interesting to observe what artist think about this global phenomena. Participants of «(In)Place of fear» project represented their own unique insight, using general, their own or other people`s fears, and their respectable way of dealing with sources or consequences that make our lives, families and social situation more difficult. They, the fears, no matter if justified or just a phobia and distorted image of reality, are very good material for realization of extraordinary tales, messages and worthy warning to all of us, transformed into artistically shaped video works. Concept of activities standing in the very title of the project invites the artists, even within this gloomy thematic determinant, to optimistic quest to offer us qualitative artistic projection instead of fear.
Artists:
Nenad Bogdanovic (Serbia) / Anna Boschi (Italy) / Vitor Butkus (Brasil) / Eduardo Calvo Sans (Argentina) / Federico Falco (Argentina) / León Ferrari-Ricardo Pons (Argentina) / Alberto Gallingani (Italy) / Gustavo Galuppo (Argentina) / Vicentini Gómez (Brasil) / Gruppo Sinestetico (Italy) / Lorena Kaethner (Argentina) Ruggero Maggi (Italy) / Sara Malinarich (Chile-España) / Claudio Marcone-Francisco Copello (Chile) / Alejandra Medina (Argentina) Clemente Padín / Ricardo Pons (Argentina) / Res Publica (France) Ricardo Rojstaczer (Israel) / Wittwulf y Malik (Germany) * Bonus Track – Especial Francisco Copello “The Chilean Boy”- Claudio Rojas Tapia
“The Mediatized Body” includes records, video performances and other works which, though not clearly framed within the category of art-action, reflect a deep anchorage in the performatic sphere. It is an attempt to reveal the presence of the body that is trapped and mediatized by video technology or else, to highlight the no- presence of a body that has become virtual and electronic. Some works effectively hint one of the most thoroughly explored paths of performance art in the last years, the one which exploits the possibilities of the techno- performatic and it places the body in interaction with several technological appendages or else, that which forces the body to a new “dematerialization” where the flesh is replaced by its projection and its presence becomes a virtual signal. A true return of body discourse, this time the body has ceased to be an object- means to become a mediatized object.
