Untitled - Manuale della figura umana, 2007-2009

Collage (oil on canvas, black felt-tip pen on paper, digital print, press clipping, drawing on paper, black written spry, print on tissue paper, written stickers, written with carbon, print on toilet paper, chalk sculpture, acrylic color on the wall, white written with chalk,)

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THE SYMBOLIC EFFICIENCY OF THE FRAME

he Symbolic Efficiency of the Frame 

T.I.C.A.B - episode III° 

curated by Corinne Diserens Tirana International Contemporary Art Biennale Albania 

The work installed, Untiled (Manuale della figura umana) is inspired at the homonym book the artist did in the 2007. The manual is conceived and devised through subsequent readings of the material accumulated. The manual is conceived and devised through subsequent readings of the material accumulated, through which the red line catches a glimpse of artistic alteration and the biography of the author. A collage of works: images, words, text, fragments, photographs, points, newspaper press clippings and images stolen from the internet. The artist has created links and associations like a joint game, with elements that attract the direct and spontaneous, constituting a new idea for the manual. With such an experiment being familiar to all, this book illustrates how an absolutely personal and subjective experience can become both applicable and universally comprehensible. 
These original images leave new ones composed of heterogeneous scenes that the artist seizes from proper reality and from that which it surrounds. She appropriates points that she takes from other sources and with this deconstruction, she reconstructs the subject, giving it a diverse character than that of its previous. In consequence, the reader begins to abandon traditional and more stigmatic views of nudity (internet, cinema, television, publicity, printed pages, photography and art). 
The addressee then becomes an active part of remodeling, as the images have no predefined order that obliges in a direct or didactic fashion. These shortened abstracts of books habitually read by the author relate in a natural way with juxtaposed images arriving from diverse fonts, designing an other, informative version of the human body. 
The subject of her works is often the female body represented in moments of intimacy in acceptance of one’s own body, of the body as the container of itself and of its own existence,where thoughts, ideas, concepts and experiences find their own extension through the phisicality of the form of the body. A "scientific" objective translation of the phisical and mental human state of being inside of which the internal and the esternal events of the world co-exist. The technique is to paint in a way that is both fast and simple, details are avoided but the shape and their volumes are painted as a synthesis of what they are. She usually looks for details, close-ups, ordinary gestures and postures,
sometimes odd ones, other times impossible ones as if they were frozen or suspended in a state of 'apnea'.

La conversazione, Tirana 2009

performance October 2nd 8:30pm

round table with with: Ema Andrea (actress), Adrian Klosi (linguist), Mimoza Ahmeti (poetess), Kozeta Noti (pedagogist), 

Gezim Quendro (art aistorian), Nadela Bairami (moderator)

 

(Round Table) scholars and researchers of various fields and disciplines such as philosophy, anthropology, psychology, literature, neuroscience and the arts in general, discuss and share their knowledge, their ideas / experiences; starting point of the conversation: 
- The subjective and objective body (content and container of experiences) 
- the meaning of self.

The conversation as act is also an image which puts into action  gestures, postures, rhythms, slow movements  both of whoever speaks that of whom listens.

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Manuale della figura umana

di Marta Dell’Angelo

Edizione Gli Ori, 2007

pp. 180

misure: 15 x 20 cm

 

 

 

Un bagaglio di immagini e parole che inconsapevolmente ci portiamo dietro e attraverso un’azione casuale, come fare ordine sulla propria scrivania e nel proprio Pc, risvegliano alla memoria e riportano alla mente ricordi che non pensavamo nemmeno di avere ma che per tutto quel tempo sono sempre stati lì sotto i nostri occhi e hanno fatto parte della nostra quotidianità. E’ questo il percorso compiuto da Marta Dell’Angelo nella creazione di un opera aperta. La forma scelta dall’artista è quella del manuale, mantenendo le distanze dalla struttura più classica dei manuali sulla figura umana in uso presso le Accademie di Belle Arti. Del modello tradizionale viene mantenuta la divisione in capitoli (corpo, autoritratto, testa, arti superiori e inferiori, interconnessione delle forme), mentre l’impostazione grafica è un nostalgico omaggio a riviste di vario genere degli anni cinquanta, capace di generare un effetto ossimorico tra lo stile delle pagine e  l’innovazione dei contenuti. Un valore aggiunto senza nessuna spiegazione e nessun commento didascalico.

Il manuale è concepito e ideato attraverso una lettura successiva del materiale accumulato, attraverso il quale si intravede il filo rosso della vicenda artistica e biografica dell’autrice. Un collage di opere, immagini, parole, testi, (tra gli autori Woody Allen, Sartre, Bukowski, Pasolini), frammenti, fotografie, appunti, ritagli di giornali e immagini rubate da internet, l’artista ha creato collegamenti e associazioni come un gioco a incastro con elementi che si sono attratti in modo immediato e spontaneo  costituendo un idea nuova di manuale. Un esperimento al quale può accedere chiunque e questo libro è una dimostrazione di come un’esperienza personale e assolutamente soggettiva, possa essere applicabile e comprensibile universalmente. 

Le immagini originali lasciano il posto a nuove immagini composte da elementi eterogenei che l’artista afferra dalla propria realtà e da ciò che la circonda. Si appropria, quindi, di spunti che fà suoi rimaneggiandoli, e con la de-costruzione di tali insiemi di dati, ricompone il soggetto dandone una versione diversa rispetto all’utilizzo precedente. Così come avviene nella realtà quotidiana, l’occhio del lettore assiste all’avvicendarsi di immagini di corpi riproposti e diversamente descritti dagli abituali mezzi di comunicazione (internet, cinema, televisione, pubblicità, carta stampata, fotografia e arte).

Il destinatario diviene parte attiva nel rimodellamento del significato delle immagini, nessun ordine predefinito lo obbliga a seguire un filo logico o cronologico, nonostante  lo stesso sia ben strutturato ma non in modo diretto o didascalico: e’ cosi che brevi estratti dai libri, abitualmente letti dall’autrice si associano in modo naturale con le immagini giustapposte, che arrivando da diverse fonti, disegnano una nuova visione informativa del corpo.

Marta Tosi

 

Manual of the Human Body

By: Marta Dell’Angelo

Edizione Gli Ori, 2007

Language: Italian

180 pages

Dimension: 15 x 20 cm

 

 

A handful of images and words that we unconsciously bring back and through casual action, revives a memory that reminds of things gone unrecognized, but were always present—prime example, organizing your desktop or PC. This is the cursor that Marta Dell’Angelo accomplishes in the creation of an open-work. With the manual as her form of display, she maintains distance from the classic structure of human body manuals that were most commonly used in the Academy of Fine Arts, by denying the book a traditional beginning and end. The open-endedness of the manual sets it a part from its traditional counterpart, while many graphics pay homage to various genres of the 1950s. She generates a juxtaposition between the styles of the pages and the innovation of contents. An addendum that serves without any explanation and any didactic comments. 

 

The manual is conceived and devised through subsequent readings of the material accumulated, through which the red line catches a glimpse of artistic alteration and the biography of the author. A collage of works: images, words, text (between the authors Woody Allen, Sartre, Bukowski, Pasolini), fragments, photographs, points, newspaper press clippings and images stolen from the internet. The artist has created links and associations like a joint game, with elements that attract the direct and spontaneous, constituting a new idea for the manual. With such an experiment being familiar to all, this book illustrates how an absolutely personal and subjective experience can become both applicable and universally comprehensible.

 

These original images leave new ones composed of heterogeneous scenes that the artist seizes from proper reality and from that which it surrounds. She appropriates points that she takes from other sources and with this deconstruction, she reconstructs the subject, giving it a diverse character than that of its previous. In consequence, the reader begins to abandon traditional and more stigmatic views of nudity (internet, cinema, television, publicity, printed pages, photography and art). 

 

The addressee then becomes an active part of remodeling, as the images have no predefined order that obliges in a direct or didactic fashion. These shortened abstracts of books habitually read by the author relate in a natural way with juxtaposed images arriving from diverse fonts, designing a new, informative version of the human body. 

 

Original Text (Italian) by : Marta Tosi

Translation (English) by: Laura Kuah and Mignon Rosales

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Untitled - Manuale della figura umana, 2007-2009 detail

Untitled - Manuale della figura umana, 2007-2009 detail

Untitled - Manuale della figura umana, 2007-2009 detail