FASV

October 2016

Videoinsight® Magazine 2016 | 7

Videoinsight® Magazine 2016 | 7

Artissima 2016 | Subliminal Sublimation. Maria José Arjona at Videoinsight® Center.

Videoinsight® Foundation www.fasv.it presents five videos and a series of photographs from Maria José Arjona performative production. On November 4th, during Artissima 2016, for a Solo Exhibition.

Below the threshold of learning and awareness, there are yet unknown mechanisms, elementary blocks of unexplored circuits, for future knowledge tools: labyrinthine to our senses and to reason, study subjects for hitherto and unimagined science, themes for undefined and infinite forms of art.

Promised lands and, at the same time, galaxies: here, the multidimensional resonance of each event echoes. Human area is more than a complex constellation, for other conception and other license. If, at a first step, we decide to repopulate it and attend it with authenticity, we will find the auroral light, written in a simple code.The concept of subliminal, when taken as a category informant, may take us to this critical step of our research. Not only: the conviction – opaque by nature and definition – that this model implies is the fulcrum to move the levers of perception, to question our acquisition of sensitive data in the universe. This is the attempt – a sort of temptation – Maria José Arjona: reporting separately the intuition that becomes substance, showing the act as topic. The action becomes metonymic backwards: a part for the whole and, at the same time, one in the part.

For Artissima 2016, the collector and patron Rebecca Russo dedicates to Maria José Arjona a Solo Exhibition at the Videoinsight® Center, in collaboration with Prometeo Gallery (Lucca, Milan). Artist born in Bogota in 1973, active in New York, the Colombian performer measures herself with her very presence: in place, movement, relationship and comparison. Placed within the Videoinsight® Method, his aesthetic practice translates into a meaningful symbolism both the gesture and the movement, providing a particular explication of every linguistic figure, a documentary sequence – both fragmentary nd free – of our communication activities. It is a process of analysis, identification and restitution – totalizing and interdisciplinary in the use of imaginary spatial temporal elements – through the unspoken, the said and submerged. This process leaves open the gates of interpretation, focusing and constantly shifting the points of view from the inside out, from subject to object.

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Maria Jose’Arjona ‘Agent / Encoding / Flow’ (2014) Courtesy Videoinsight® Collection

Agent / Encoding / Flow (2014) seems the realization of a poetic inspiration. The interaction is fourfold: Private, coordinated between agents, rhythmic-musical and “for support”. The medium is contaminated by displaying a kind of binary system, brought to light after the event, and by the appearance of a lot of key words – effectless and decontextualized slogans. The dance repeats steps from ancestral root, combined with new and plausible contemporary steps. Fractions are dilated, the work seems to confirm – on the recording – the interminable outcome of its own practice: verbalized pretext.

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Maria Jose’Arjona ‘All the others in me’ (2014) Courtesy the Artist

All the Others in Me (Milan, 2012): the clothing of Maria José Arjona reveals interiority, an intimate statement. Here the ritual investiture takes place from the bottom, where the consciousness of otherness is taken, gradually, and rediscovered as innate. Even the face “portrays itself” and vanish, slowly. The moments of abandon are sometimes neglected. They track the personal – then social, finally collective – discourse: a forgotten memory.

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Maria Jose’Arjona ‘Espiritu’ (2014) Courtesy Videoinsight® Collection

The video-performance Espiritu (Lucca, 2014) is more than a match: a whisper, an affection of the heart in a circle of spectators and visitors. The contact is altready effective in the distance, eternal and infinitely starting from the beginning, from the first emotional relationship.

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Maria Jose’Arjona ‘Right at the center, there is silence’ 2012 Courtesy Videoinsight® Collection

Right at the Center, There is Silence, performance from Active Voice cycle, is a immortalized situation, the immortal breath of a sudden pause. The danger is everywhere, beyond to the central equilibrium boundaries.

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Maria Jose’Arjona ‘Birdcage’ (2015) Courtesy the Artist

Birdcage (2015) is not the frozen moment that seems at initial impact, but the dissolved sense, freed after the art-composition. A solution – created and reproduced from the inside of the cage – by original escape in a bare light: absolute because released from the dichotomy of truth and illusion.

Magic of sublimation!

Ivan Fassio

The BMW Art Guide by Independent Collectors 2016

The Videoinsight® Collection is part of the BMW Art Guide by Independent Collectors 2016.
It includes 256 publically accessible private collections and offers a full spectrum of the contemporary Art World.
The Fourth Edition – printed and digital – of the BMW Art Guide by Independent Collectors is available.

The Videoinsight® Method by Rebecca Russo

Interview with Rebecca Russo

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Videoinsight® Room in Intensive Care

The Videoinsight® Foundation launched in the Reanimation and Intensive Care Department of the Sant’Agata dei Goti Hospital the Videoinsight® Room Pilot Project.
It is dedicated to patients with stress, respiratory diseases and induced coma, family members and healthcare professionals.
The Videoinsight® Method is applied to promote the Well-being.
The Research is curated by Doctor Noemi Vicchio.

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Videoinsight® Magazine 2016|6

Videoinsight® Magazine 2016|6

Videoinsight® School Project
Education as Intuition, Care, Nourishment

The Project Videoinsight® School, curated by Tita Giunta and Lucia Centurelli, and supervised by Rebecca Russo, President of the Videoinsight® Art and Science Foundation, led contemporary art in Primary School for the first time: video art and performance were the basis for an innovative educational and instructional path. Today, Videoinsight® Magazine is presenting the first experience, closely linked to the video “Lux Mater”, documentation of an art performance by Beatriz Millar.

Learning, generally, appears suddenly, accompanied, in the subject, with a pleasant, and sometimes ecstatic, feeling to have finally achieved a genuine understanding. An acquisition of this kind can be taken internally as a real mode and can contribute, therefore, to transfer our consciousness towards new situations. Such a process is based, as well, on a kind of global insight: it’s like a foundational structure, the foundation of our evolution.

The memory tracks, in fact, are not isolated elements, but arranged agglomerates, blocks. They constitute full figures in continuous changing and in constant expansion: construction sites. Understanding of change and novelty is not an add of new signs to our store of knowledge, but a transformation to one form into another. Here is the original successful mutation, which can arise from experience or occur as a result of reflection, over time. In the case of artistic enjoyment, privileged sphere of the Videoinsight® Method created by Rebecca Russo, the latter two cases fit together.
The etymological root of the concept of education collects and mixes significantly the Latin versions of e-ducere (whose meaning is “get out”, “give birth”, “lead outside”) and edere (feed). education paradigm is the cure understood as help, guidance, orientation, design, support.

Not surprisingly, the first reference video for the Videoinsight® School Project curated by Lucia Centurelli and Tita Giunta, both Videoinsight® Method cuartors, was “Lux Mater” by Beatriz Millar. In this video, a documentation of an art performance, the artist mixes flour and ingredients, bakes cakes and bread. Reflecting on creative gestures and rituals, Beatriz Millar found in the preparation of bread, and through its gift as an elementary nourishment, the feminine power of creation. The artist questions, through this simple and atavistic gesture, about role-mutated, lost or acquired, in contemporary societies.

The Videoinsight® School Project has foreseen the Videoinsight® proposal and experience to pupils in elementary classes. The project was defined on the basis of psychological and individual needs, both individual and collective. After careful consideration on the specific needs of each group, realized through preliminary meeting with the reference teachers, the vision of Contemporary Art images of Videoinsight® High Impact has been proposed for the very first time to young students. Spontaneous narrative results and individual or collective interpretations from a first approach to contemporary art have been evaluated by the Videoinsight® experts and, later, conceptually and creatively reworked by children through bodily expression through theater-therapy settings.
In the case of this work based on Beatriz Millar’s videos – the first of three experiences of the Videoinsight® School Project – for the theater-setting prepared by Tita Giunta, the children were welcomed into a space, in front of a circle of dishes – each containing a loaf of clay. At the center, a rope creates a circular shape, with three large knots. Clay is a symbol of creation, intended as the mother earth. Before being used, it has been divided into many small pieces. With care and dedication, the students had to mix it with their oiled hands. It was proposed to mix the loaves of clay just like Beatriz Millar does in her video performance. The students had to create their own world: a ball with their favorite features: cracks, grooves, capes, holes. Then, it started an exchange: with the right hand, each participant has given his creation to his companion, with his left hand has received the gift of the companion; the worlds continued to circle until everyone got back his own world. Everyone explored carefully the world of the others, focusing on the diversities, specificities and uniqueness. Finally, the children were asked to place their own world on the rope. It was explained to them that the rope represented the class and that every child had to place his own world, by maintaining contacts with the rope: where was the position of every student in relationship with his own class and with the others?

Ivan Fassio

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