tag:blogger.com,1999:blog-936649354384417242024-03-21T22:08:55.202-07:00Monica CarreraArtWorks&ProjectsMonica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-93664935438441724.post-62521359600822707732023-01-08T02:03:00.001-08:002023-01-08T02:03:39.823-08:00L' ATTIVITA' DEL BLOG E' TEMPORANEAMENTE SOSPESA<p> PER INFO E NEWS VI INVITO A VISITARE IL MIO PROFILO INSTAGRAM: <a href="https://www.instagram.com/monicacarrera_works/?hl=it">monicacarrera_works</a></p><p><br /></p>Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-10577886973765422982019-11-25T09:05:00.001-08:002019-11-25T09:05:17.804-08:00Per una geografia erratica delle nuvole (o del diritto nomadico degli esseri viventi). Del confine.<div style="font-family: Times; font-size: 13px; font-stretch: normal; line-height: normal;">
<b>"Non ora non qui#2", Bianco//spazio espositivo, Brescia 2019</b></div>
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opera segnalata dalla giuria e pubblicata sul catalogo nella sezione "Fotografia", Combat Prize, Livorno</div>
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stampe fotografiche, filo da cucito</div>
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Il lavoro si compone di due capitoli, che trovano espressione in gruppi di immagini. Allude a una delle opere più monumentali -benchè immateriali- realizzate dall’essere umano: i confini, ossia la divisione più o meno arbitraria dello spazio che, nel momento in cui lo misura, lo definisce. Eppure tali definizioni non sono permanenti ma subiscono variazioni nel tempo: sono come ricami effimeri e arbitrari sulla superficie della terra, a cui tuttavia sono attribuiti potere assoluto e valore innegabile. A volte ne seguono la conformazione, altre ancora sono stabiliti da chi detiene il potere dominante. Ora sono barriere più o meno osmotiche a seconda di chi sia il soggetto che le attraversa. </div>
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<span style="text-align: justify;"><span style="font-family: Times;"><span style="font-size: 12px;">Nel secondo gruppo di immagini che ha per titolo "Del Confine"vengono tracciati dei confini in maniera del tutto arbitraria in situazioni quotidiane o effimere. Decontestualizzandolo l'azione il tracciato se ne evidenziano i possibili effetti e le anomalie.</span></span></span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-35584125777462127232018-06-28T02:51:00.000-07:002019-03-05T02:06:56.697-08:00Perspectives: looking at your own problem, looking at somebody else's problem<h4>
"Non ora non qui", Bianco//spazio espositivo, Brescia</h4>
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stampa fotografica, argilla, spine di rosa, lino e juta</div>
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<span style="font-family: "times" , "times new roman" , serif;">L'opera indaga la distanza tra sé e l’altro, utilizzando il rapporto con il dolore non mediato dal linguaggio: la mia pelle, la tua pelle. Il mio problema, il tuo problema. Essa si rifà ad un linguaggio primitivo per esprimere ciò che da sempre caratterizza l'essere umano: la propria singolare percezione del mondo, in relazione a quella altrui. dalla negoziazione di queste due prospettive trova origine la relazione con l'altro.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">argilla, spine di rosa, lino e juta</td></tr>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-74049062749510144462018-06-27T23:37:00.000-07:002019-03-05T02:11:26.686-08:00Sudare<h4>
"Non ora non qui", Bianco//spazio espositivo, Brescia</h4>
Terra rossa dalla cava di Roussillon, lino<br />
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<span style="font-family: "times" , "times new roman" , serif;">Questo lavoro è stato realizzato appositamente per la mostra "Non ora non qui" e vuole essere parte di una riflessione in merito al bisogno o meno che l'uomo contemporaneo ancora ha di rifarsi al primitivo, </span><span style="font-family: "times" , "times new roman" , serif;">di una magia concreta, di uno sguardo privo il più possibile di sovrastrutture.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; text-align: justify;">Anche oggi non siamo altro che uomini primitivi alle prese con una giungla diversa: il problema della sopravvivenza permane e la sua caratteristica principale è la non gratuità. Nasciamo con la pancia vuota e questo è il nostro motore.</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-89352264340440704992016-09-10T04:44:00.000-07:002019-03-05T02:14:18.385-08:00Exercises on Foucault<h4>
<span style="font-family: "times" , "times new roman" , serif;">Residenza Artistica Case Sparse, Malonno (Bs) 2016</span></h4>
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<span style="font-family: "times" , "times new roman" , serif;">ambiente: installazione e suono</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Il cuore del lavoro è dichiarato sin dall’inizio dal titolo: “Exercises on Foucault”</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Il punto di partenza è il testo “Sorvegliare e punire” che ho voluto incarnare, partendo da un dato biografico, riemerso durante la lettura: s</span><span style="font-family: times, "times new roman", serif;">ono una mancina corretta.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Durante il periodo di Residenza, ho messo in atto un esercizio mirato, costante e regolare con l’obiettivo di recuperare l’uso della mia mano sinistra trascrivendo parti del testo, che sentivo profondamente connesse al tema del controllo e della messa a norma del corpo. </span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Desideravo trovare un’identità tra testo ed azione. </span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Il corpo, l’esercizio e la punizione, il controllo sono i temi fondamentali del libro.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Ho prodotto un quaderno dalla scrittura infantile e ho fissato al muro -sopra la scrivania dove ho lavorato- il primo tentativo </span><span style="font-family: times, "times new roman", serif;">goffo e storto. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; text-align: justify;">Lentamente, la stanza in cui ho dormito e lavorato ha assunto i tratti della cella di un convento, di un collegio o di una prigione, vuoi perché si tratta di una camera angusta con un una piccola finestra, vuoi per la consapevolezza che lì vi si è svolto un esercizio assiduo e costante. </span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Per rendere palpabile l’esercizio, ho utilizzato il <a href="https://soundcloud.com/e-1-4/exercise-on-foucault">suono</a> della scrittura sia destra che mancina, rielaborato da E. Milanesi in un crescendo distorto che evidenzia il conflitto e il continuo alternarsi di parti del corpo alla ricerca di una relazione l’una con l’altra. Il pavimento in legno assorbiva e </span></div>
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<span style="font-family: "times" , "times new roman" , serif;">diffondeva <span style="-webkit-font-kerning: none; color: #1d2129;">vibrazioni non udibili ma anche percettibili con la pianta dei piedi.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Sulla tenda d'accesso alla stanza, ho ricamato la frase <b>“<i>La sola cerimonia veramente importante è quella dell’esercizio</i>”</b>, estrapolata dal libro.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Essa ci instilla in qualche modo il dubbio che il potere che abbia come unico fine quello dell’esercizio di se stesso.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">“Esercisse on Foucault” è il risultato di un approccio soggettivo, è la possibilità che ho voluto dare al testo di farsi corpo, di farsi esperienza, di calarsi nella mia storia individuale.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Ph. L. Littarru, E. Milanesi</span><br />
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-88052106841480449292016-01-08T03:01:00.000-08:002018-06-28T02:53:12.464-07:00ISTANTANEE (t →∞) #2<h4>
<span style="font-family: "times" , "times new roman" , serif;">Progetto Tangram // Spazio per le arti, Brescia</span></h4>
<span style="font-family: "times" , "times new roman" , serif;">Opening 11 Dicembre 2015</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">videoistallazione, 7 monitor a tubo catodico, video loop</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: 11.0pt;">La
videoinstallazione in mostra presso progetto Tangram appartiene a una serie di
opere che, agendo sul doppio binario della dimensione pubblica e privata,
riflette sullo spazio interiore del singolo rapportato al suo vivere in mezzo
agli altri.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 11.0pt;">Il
progetto “ISTANTANEE </span><span style="font-size: 11.0pt;"> (t →∞)" </span><span style="font-size: 11.0pt;">nasce
dalla fascinazione per la storia della prima fotografia, quando per scattare un
ritratto era necessaria una posa molto lunga e da una serie domande su ci</span><span style="font-size: 11.0pt;">ò</span><span style="font-size: 11.0pt;">
che mostriamo sulla nostra superficie pi</span><span style="font-size: 11.0pt;">ù</span><span style="font-size: 11.0pt;">
visibile: il viso (lat. <i>visum</i>, part.
pass. verbo <i>Video</i>, ci</span><span style="font-size: 11.0pt;">ò</span><span style="font-size: 11.0pt;">
che </span><span style="font-size: 11.0pt;">è</span><span style="font-size: 11.0pt;"> visto).<o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 11.0pt;">Partendo
da questi presupposti - diversi, ma facilmente sovrapponibili in una serie di
implicazioni reciproche - si chiede a sette persone di posare di fronte alla
macchina fotografica e di offrire il loro migliore sorriso, mantenendolo il pi</span><span style="font-size: 11.0pt;">ù</span><span style="font-size: 11.0pt;">
a lungo possibile, come se fossero di fronte a un apparecchio di fine
Ottocento. Tuttavia, anziché essere immortalate da un singolo scatto, sono
state riprese, in modo da cogliere nel tempo le variazioni delle singole espressioni
facciali. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 11.0pt;">Sul
loro viso si sono avvicendate infinite micro-espressioni, passando - in alcuni
casi - dal riso al pianto. Creano un vero e proprio racconto composto da un
inizio, uno svolgimento e una fine. <o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 11.0pt;">I
volti si sono trasformati in maschere mobili sulle quali, loro malgrado, si
proiettano in un <i>continuum</i> fluido
tutte espressioni che sfuggono al controllo. <o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 11.0pt;">La
disposizione corale dei monitor in mostra mette in relazione il singolo
individuo con la pluralità, mostrando ciascuno racchiuso nel proprio sforzo,
pur abitando tutti lo stesso spazio.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: 11.0pt;"><span style="font-family: "times" , "times new roman" , serif;">ll
titolo rimanda allo studio dei limiti in matematica: cosa accade a y se il
tempo tende a infinito? Cosa accade se si costringe alla durata un gesto
spontaneo e immediato come un sorriso? Cosa accade a un individuo che entra in
relazione con gli altri?</span><span style="font-family: "avenir light"; font-size: 11pt;"><o:p></o:p></span></span><br />
<span style="font-family: "avenir light"; font-size: 11.0pt;"><br /></span>
<br />
<div style="text-align: center;">
<a href="https://vimeo.com/126032854">Visualizza il video</a><br />
<br /></div>
</div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
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ph. E. Milanesi</div>
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<br />Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-5068021754825951952015-11-07T10:36:00.000-08:002018-06-28T02:54:53.751-07:00Fa Ruggine#2 <h4>
"Maybe we are the waves" a cura di S. Marcadent, Glogauer, Berlino</h4>
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<span style="-webkit-font-kerning: none;"><b>Fa ruggine#2</b> è un <i>visual </i>elaborato per la pubblicazione in copia unica "Maybe We Are The Waves" curata da Saul Marcadent e presentata negli spazi di GlogauAIR a Berlino. Si tratta di una riflessione post-residenza, un collage realizzato a partire da fotografie ritrovate in un vecchio archivio a Malonno che ritraggono famiglie e gruppi che sono partiti; sono intervenuta modificando lo sfondo dell'immagine con interventi pittorici, cambiandone il contesto a seconda della migrazione avvenuta.</span></div>
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<span style="-webkit-font-kerning: none;">Ho voluto </span>ritagliare le persone dal luogo in cui è stata scattata la fotografia, successivamente ho dipinto per loro dei fondali esotici su cui infine li ho collocati. </div>
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Ho immaginato che chi partiva, soprattutto nei primi anni del Novecento, generasse in chi era rimasto fantasticherie di ogni tipo, poiché i luoghi di destinazione erano sconosciuti ai più. Vorrei quindi dare corpo a queste fantasie che le partenze generavano. Questo collage, così come quelli realizzati successivamente, è intimamente legato all’opera presentata in Residenza, come si evidenzia dal titolo stesso.</div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-1164818368727837642015-10-08T11:12:00.000-07:002018-06-28T03:04:48.587-07:00Fa ruggine#2<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: xx-small;">Collage, Maybe We Are The Waves, GlogauAIR, Berlino</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-87027452700003050782015-09-18T05:53:00.000-07:002016-12-27T10:39:43.769-08:00Fa Ruggine<h4>
<span style="font-family: "times" , "times new roman" , serif;">Residenza Artistica Case Sparse, Malonno (Bs) 2015</span></h4>
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<span style="font-family: "times" , "times new roman" , serif;">(Il Desiderio non realizzato non perde d'intensità, fa ruggine)</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">"Intimo e appassionato, il lavoro di Monica Carrera agisce sul doppio binario della dimensione pubblica e privata, traducendosi in installazioni, video, azioni performative. <i>Fa ruggine</i> riflette sulle ondate migratorie, a partire sa fine Ottocento, dalla Valle Camonica verso territori lontani, geograficamente e mentalmente. L'artista realizza la struttura di una barca in ferro non trattato e la colloca attorno a un'acacia, elegante e slanciata. Cosi, la pianta e' l'albero maestro della barca, elemento necessario per migrare eppure ancorato alla terra, e cristallizza una tensione interiore, in cui il desiderio di partire e il desiderio di restare coesistono. </span><span style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;">Nell'attesa, la barca fa la ruggine."</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Intera documentazione fotografica: E. Milanesi</span><br />
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<span style="font-family: "times" , "'times new roman'" , serif; text-align: justify;">In un luogo caratterizzato da una forte emigrazione spesso ci si pone la questione se partire o restare. Non tutti quelli che desiderano partire lo fanno. Non tutti quelli che partono lo desiderano. L'istinto al viaggio e al cambiamento spesso convive con la paura di recidere le radici che ci legano ai nostri luoghi, al nostro quotidiano, alla nostra identità. Partendo dalla mia esperienza e dal mio sentire, ho voluto cristallizzare in un'immagine il momento in cui questi due stati dell'animo coesistono. La loro coesistenza non è mai un bilanciamento, ma è data da lievi sbilanciamenti verso l'uno o verso l'altro che perdurano fino a che non si prende una decisione. O non la si prende. E allora si fa la ruggine. E la barca, invece di fendere l'acqua, si fa attraversare. </span></div>
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<span style="font-family: "times" , "times new" serif;">(M.C.)</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-10596901002034987662015-06-13T01:41:00.000-07:002016-12-27T10:53:15.090-08:00ISTANTANEE (t →∞)<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="https://player.vimeo.com/video/126032854" webkitallowfullscreen="" width="500"></iframe> <br />
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<a href="https://vimeo.com/126032854">Istantanee (t →∞)</a> from <a href="https://vimeo.com/user23216520">Monica Carrera</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
Questo lavoro nasce dalla fascinazione per la storia della prima fotografia, quando per scattare un ritratto era necessaria una posa molto lunga, e da una serie domande su ciò che mostriamo sulla nostra superficie più visibile: il viso, appunto (lat. visum, part. pass. verbo Video, ciò che è visto).
Ho chiesto a sette persone di posare di fronte alla macchina fotografica, offrendomi il loro migliore sorriso e di tenerlo il più a lungo possibile, come se fossero di fronte a un apparecchio di fine Ottocento.
Sul loro viso si sono avvicendate infinite micro-espressioni, passando - in alcuni casi- dal riso al pianto. I volti si trasformano in maschere mobili sulle quali, loro malgrado, si proiettano in un continuum fluido tutte espressioni che sfuggono al controllo.
ll titolo rimanda allo studio dei limiti in matematica: cosa accade a y se il tempo tende a infinito? Cosa accade se si costringe alla durata un gesto spontaneo e immediato come un sorriso?
Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-81884185361549356302015-02-26T00:22:00.002-08:002015-02-26T00:48:58.556-08:00Homage to Cindy Sherman (performed by my mother)<div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Chapter 1</span></b></h2>
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<span style="font-weight: normal;"><span style="font-size: small;">Installazione fotografica</span></span></div>
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“Homage to Cindy Sherman (performed by mother)” è un lavoro che si svolge in tre atti e che trae origine dall’archivio fotografico di mia madre. </div>
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In <b>“Homage to Cindy Sherman (performed by my mother)-cap.1”</b> ho selezionato immagini che la ritraevano sola in situazioni che risultavano stereotipate (per le pose, per l’abbigliamento...) e le ho accostate fra loro componendo delle piccole mini serie tematiche: “Mamma al mare”, “Mamma fashion”, “Esotica”, “Mamma e i mezzi di trasporto” etc. L’insieme di queste serie, poste una accanto all’altra, genera uno storytelling biografico a scatti e mette in evidenza le iconografie che inconsapevolmente contribuiamo a creare o che altrettanto inconsapevolmente ricalchiamo, perchè appartenenti alla nostra epoca.</div>
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Questi “ruoli” o “personaggi” appaiono a noi oggi, non al/alla protagonista dello scatto. Ci appaiono in virtù del tempo trascorso tra lo scatto e la fruizione. E’ l’esperienza, il contesto, la posa e l’abbigliamento a farci dedurre il personaggio, a tradurlo in figura iconografica. </div>
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Accostandola ironicamente alla figura di Cindy Sherman -i cui personaggi sono il frutto di una forte intenzionalità nello scatto e nella stereotipizzazione, nonché di una costruzione precisa e meticolosa dell’immagine- desidero creare uno scarto ironico, uno iato tra una biografia personale qualunque e un corpus di opere molto conosciute e ormai appartenenti alla storia dell’arte contemporanea. </div>
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Ciò che mi interessava era estrarre da una biografia individuale tanti fermo-immagine per ricreare un personaggio seguendo un modello narrativo altro e al contempo, sperimentare quanto l’immagine fotografica subisca dei cambiamenti nella percezione col passare del tempo, al punto che immagini totalmente documentarie di una vita appaiono molto simili ad altre costruite con un’intenzione iconografica precisa.</div>
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<b style="font-family: 'Minion Pro'; font-size: 14px; text-align: justify;"><span style="font-family: Times, Times New Roman, serif; font-size: large;">Chapter 2</span></b></div>
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<span style="font-family: 'Minion Pro'; font-weight: normal;">Stampe fotografiche </span></div>
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<span style="font-family: 'Minion Pro'; font-weight: normal;">60 cm x 30 cm</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b>“Homage to Cindy Sherman (performed by my mother) cap.2” </b>si compone di tre scatti: essi mostrano cosa rimane una volta estratte dall’album le foto del capitolo 1: le biografie separate di mio padre e mia madre. </span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">I buchi sono importanti, ci fanno ricordare che tutto quello raccontato in un album (un incontro tra due persone, che nel futuro avrebbero generato una famiglia) poteva non accadere.</span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">Quando in un album vediamo dei buchi, dei tasselli mancanti, la sensazione che si genera è forte ed oscilla tra la morte e la cancellazione di un passato, quasi sempre un terremoto emotivo e punti di domanda. Togliere foto equivale a togliere vissuto?</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Chapter 3</span></h2>
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Stampe fotografiche</div>
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varie dimensioni</div>
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<span style="font-family: Times, 'Times New Roman', serif; text-align: justify;">In </span><b style="font-family: Times, 'Times New Roman', serif; text-align: justify;">“Homage to Cindy Sherman (performed by my mother) cap. 3” </b><span style="font-family: Times, 'Times New Roman', serif; text-align: justify;">propongo fotografie in dimensioni reali degli album da cui ho estratto le immagini del cap.1.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">Non si tratta di una mera citazione delle fonti, esporre gli album chiusi è mostrare il potenziale senza renderlo accessibile. E’ anche omaggiare qualcosa che ha fatto parte delle nostre vite per molto tempo e che sta oggi irrimediabilmente sparendo, sostituito dagli album digitali, condivisi e fragili.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">E’ trasformare “Homage to Cindy Sherman (performed by my mother)” in “Homage to (Cindy Sherman performed by) my mother”, ritornare alla biografia del singolo, come luogo dell’infinito potenziale, anche di immagini.</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-59398488787366451952014-11-06T10:48:00.000-08:002016-12-27T10:51:24.163-08:00Esitazione, Milano 2013<span style="font-family: "times" , "times new roman" , serif;">Stampa Fotografica, 60 cm x 30 cm</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">E’ un’immagine colta per strada, in una grande città. La crisi ha molteplici immagini, molti ne parlano, spesso in toni eclatanti.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Io la vedo in quell’esitazione dove per un istante diventa possibile ciò che prima era impensabile. </span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Cosa avrà visto quella signora da attirare la sua attenzione?</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-69611809997686632292014-09-22T07:44:00.001-07:002014-09-22T07:44:44.455-07:00Fai una foto con noi? Growing Community<div style="text-align: left;">
<span style="text-align: center;">“Where is the familiar?” a cura di M. Ferretti, presentazione post-Residenza, GlogauAIR, Berlino</span></div>
con F. Damiano, ph. G. Fanizza<br />
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azione, stampa fotografica 70 x 30 cm<br />
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Alla base di questa azione c’è la volontà di raccogliere la testimonianza di quanto la comunità nella quale operiamo ci accolga. Ogni anno verrà scattata una foto, sperando, prima o poi, di vedere tutta la comunità stringersi intorno alla Residenza e agli artisti.</div>
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L’ultimo giorno di Residenza, abbiamo suonato alle porte degli abitanti del comune di Malonno semplicemente chiedendo: “Fai una foto con noi?”.</div>
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Una domanda a bruciapelo, che richiede una risposta istintiva, non mediata. La fotografia ritrae i primi coraggiosi. Una dichiarazione per alcuni, un gesto spontaneo per altri. Il nucleo di una comunità che cresce, per noi.</div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-82331235519421897462014-06-17T14:20:00.000-07:002014-06-18T01:02:58.366-07:00Mi vedi?<h4>
<span style="font-family: Times, 'Times New Roman', serif;">Libro d'artista#1</span></h4>
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<span style="font-family: Times, 'Times New Roman', serif;">Questo libretto nasce dall’esperienza di sentirsi invisibile e dal suo progressivo "svelamento".</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Racconta di come a volte l’aria si faccia spessa intorno alle persone e di come la si possa “sfogliare”, levandone strati sottili, così come si sfoglia una margherita o un libro.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Ne ho fatto un libro d'artista. La prima tiratura è in sette copie, poiché sette sono le fasi di svelamento presenti nel libretto. </span><span style="font-family: Times, 'Times New Roman', serif;">Tutti i libretti sono uguali -stampati in tipografia- solo le cover sono diverse -realizzate a mano-</span><span style="font-family: Times, 'Times New Roman', serif;"> </span><span style="font-family: Times, 'Times New Roman', serif;">e parlano, di volta in volta, di opacità, trasparenza e confini.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Laser Print, 15 cm X 18 cm</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn03ipu5etbeOoXpvFkrYEyhjdQfCpwxb-ygyR67FPH9FUrKvuXgcHzpiwPbR5cVXO_D0W4YlttKnsE4fuYNu8H-3l2uRkFgSIxafk-I_HHTvphYN3GDG07wQbRdu86TJ7Bko4BXliXXE/s1600/10web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn03ipu5etbeOoXpvFkrYEyhjdQfCpwxb-ygyR67FPH9FUrKvuXgcHzpiwPbR5cVXO_D0W4YlttKnsE4fuYNu8H-3l2uRkFgSIxafk-I_HHTvphYN3GDG07wQbRdu86TJ7Bko4BXliXXE/s1600/10web.jpg" height="266" width="400" /></a></div>
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Cover in carta da lucido con interventi grafici</div>
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<span style="font-family: Times, Times New Roman, serif;">Ne ho spedite sette copie a sette persone diverse, una per ogni strato d'aria rimossa:</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-17387446115766562422014-01-05T02:10:00.002-08:002014-01-05T02:12:10.657-08:00Nel blu dipinto di blu #2Presentazione della residenza Artistica Case Sparse | Tra l'Etere e la Terra<br />
O' Associazione no profit, Milano<br />
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<span style="font-size: x-small;">Istallazione video-fotografica, cinque stampe 14 x 21 cm e video loop</span></div>
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<span style="background-color: white; font-family: 'Times New Roman', Times, FreeSerif, serif; line-height: 14px; orphans: 2; text-align: justify; widows: 2;">Superato l’ostacolo di una sensazione spiacevole il corpo e la mente si abituano, si siedono assieme.</span></div>
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<span style="background-color: white; font-family: 'Times New Roman', Times, FreeSerif, serif; line-height: 14px; orphans: 2; text-align: justify; widows: 2;">(G.Martino)</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-79858752876024677942013-07-30T09:12:00.000-07:002013-11-24T09:07:41.981-08:00Nel blu dipinto di blu<span style="font-family: inherit;">Progetto site-specific sviluppato durante la Residenza per artisti "Case Sparse | Tra l'Etere e la Terra"</span><br />
<span style="font-family: inherit;">Malonno (Bs), Luglio 2013</span><br />
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<span style="color: black;"><span style="font-family: inherit; font-size: small;">L’uomo medicina sotterra da solo il suo corpo per crescere. Solo la testa fuori rimane, finché è buio così deve restare. Accogliere dentro di sé la perdita di sé: questo capisce. La vita e la morte sono un unico organismo, senza conflitto e senza interruzione. Tanto va in alto quanto va in basso. Ferisci e guarisci. Rimani in equilibrio. Esplora.</span></span></div>
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<span style="color: black;"><span style="font-family: inherit; font-size: small;">L’opera di Monica Carrera parte dall’immagine dell’uomo medicina delle Ande, una figura che riceve i suoi poteri benefici una volta superata la prova di rimanere sotterratto incapace di muoversi per una notte intera: solo dopo aver vinto la sua paura, infatti, il guaritore potrà considerarsi tale.</span></span></div>
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<span style="color: black;"><span style="font-family: inherit; font-size: small;">Fulcro dell’intervento dell’artista é la volontà di indagare modalità diverse per esplorare il rapporto tra corpo e terra; l’atto di ‘finire sottoterra’ oltrepassa il concetto di morte senza negarlo, in quanto costitutivo della nostra tradizione culturale occidentale, ma caricandolo di un nuovo potenziale che ne scardina la linearità: il movimento. Il desiderio di rendere possibile un’altalena che si muove a mezz'aria pur stando sotto il livello del suolo riflette il superamento dell’atrofizzazione del concetto di ‘corpo sottoterra’ radicato e immobilizzato nella nostra tradizione, qui smosso, scardinato e rivoltato con l’espediente ironico e saggio del gioco. Stare seduti sull’altalena sottoterra suscita disagio, disorientamento, paura anche. Ma superato l’ostacolo di una sensazione spiacevole il corpo e la mente si abituano, si siedono assieme; solo questa posizione concede infine una visuale nuova, inaspettata e inedita: il panorama della valle visto dal livello del suolo.</span></span></div>
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<span style="color: black;"><span style="font-family: inherit; font-size: small;">La cesta che contiene l’altalena sottoterra é realizzata intrecciando rami di legno di frassino, raccolti freschi dall’artista nel bosco circostante. Il frassino é inoltre l’albero a cui l’altalena é appesa ed é una pianta nota per i suoi poteri benefici e allo stesso tempo violenti: di frassino era la lancia di Achille capace di uccidere, di frassino é il bastone del druido capace di guarire.</span></span></div>
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<span style="color: black;"><span style="font-family: inherit; font-size: small;">Il movimento dell’altalena lega idealmente l’albero al cesto, entrambi di frassino, così come morte e vita, movimento e terra, paura e dono sono legati stretti in questa opera di cui fare esperienza.</span></span></div>
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<span style="color: black;"><span style="font-family: inherit; font-size: small;">(testo di Gaia Martino, curatore-in-residenza, </span></span><span style="line-height: normal; orphans: auto; text-align: center; widows: auto;">photo: M. Di Savino, E. Milanesi, M. Carrera</span><span style="font-family: inherit; text-align: center;">)</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-16467810852622210532013-01-16T00:03:00.000-08:002013-11-24T05:25:29.731-08:00Teru Bozu<!--StartFragment-->
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<span style="font-family: inherit; line-height: normal;">Teru Bozu è un’installazione composta da un video e da otto immagini fotografiche.</span><br />
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<span style="font-family: inherit;">I Teru Bozu sono bamboline della pioggia, una sorta di amuleti che i bambini appendono alla finestra per richiamare il bel tempo; se il bel tempo arriva, il bambino offre ai Teru Bozu del sakè dolce e un campanellino d’oro. </span></div>
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<span style="font-family: inherit;">Come molti amuleti costruiti dall’uomo, si tratta di un dispositivo del desiderio.</span></div>
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<span style="font-family: inherit;">Ho realizzato otto Teru Bozu e li ho appesi sotto al tavolo, dove spesso da bambini ci troviamo a sognare mondi; ho fotografato ciascuno di loro, ricavandone diversi personaggi, come tanti piccoli interlocutori di un bimbo solo, condizione a cui fa riferimento l’origine della tradizione dei Teru Bozu (*Amefushi, dio della pioggia, impedisce di andare a giocare all’aperto perchè, portando la pioggia, viene sempre allontanato dagli altri bambini).</span></div>
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<span style="font-family: inherit;">Le immagini inquadrano così delle bamboline della pioggia giapponesi, ognuna nella loro singolarità, come tanti fantasmini che si agitano sotto ad un tavolo. Il video, caratterizzato da minime variazioni dell’immagine, è incorniciato anch’esso come le fotografie, creando uno sfasamento percettivo. Esso mostra l’apparire e l’immediato scomparire dell’artista sotto al tavolo, tra le bamboline, suggerendo un contatto casuale e intermittente con la dimensione magica dei Teru Bozu. Il video è realizzato con la tecnica dello stop-motion.</span></div>
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<span style="font-family: inherit;">Dettagli: "Foto di gruppo", 13 cm X 18 cm e "Giochiamo?", 15 cm X 10 cm</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-27321953832662185862012-07-27T00:51:00.002-07:002015-05-28T09:55:14.902-07:00All'acqua chiedo<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit; font-size: x-small;">Progetto sviluppato nell'ambito della Residenza per Artisti "Case Sparse", Malonno (Bs), Luglio 2012</span></div>
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<span style="font-family: inherit;">"All'acqua chiedo" è un'azione nella natura. </span></div>
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<span style="font-family: inherit;">Ho lavorato sulla dimensione mitica del fiume, sulla capacità che ha l'acqua di ricondurre all'origine, di ricucire, di rimettere in movimento.</span></div>
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<span style="font-family: inherit;">L'acqua, in molti miti fondativi, è un elemento dell'origine.</span></div>
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<span style="font-family: inherit;">Ognuno ha il suo mito fondativo.</span></div>
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<span style="font-family: inherit;">Inviare la bottiglia significa per me compiere un viaggio ritroso, dal qui ed ora al momento della mia origine. </span></div>
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<span style="font-family: inherit;">Vuole essere un viaggio nello spazio ma in realtà è un viaggio nel tempo. Tornare al luogo dove sono nata. Farlo attraverso l'acqua.</span></div>
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<span style="font-family: inherit;">Mettermi in comunicazione con il fiume, con l'acqua che scorre fuori di noi e la memoria dell'acqua antica dentro di noi.</span></div>
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<span style="font-family: inherit;">Il desiderio è quello di unire, di comunicare.</span></div>
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<span style="font-family: inherit;">Unire la testa e i piedi di un unico organismo di acqua.</span></div>
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Installazione finale presso AplusB Contemporary Art, Brescia</div>
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<a href="https://soundcloud.com/user686388122/allacqua-chiedo-la-chiamata-degli-affluenti-eminsert">Intervento Sonoro</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEgZM3Ou9eXzJ9XXcjRIEfr8BJfYdVd_dnqDexWDLOCWaeiS0wwmGMSniuSByCI8Od8n0-62axpaLprgbeClr-1mhKyTuIUxGGKU1zRn2ml79aG_q641ORUNIBno3m3iLzZFxNegtENnk/s1600/20120803_1046+copia.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a>Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-51086580948997047302012-04-08T09:58:00.002-07:002013-11-24T03:50:04.818-08:00Arenata 1, 2 e 3<span style="font-family: inherit; text-align: justify;">In
</span><i style="font-family: inherit; text-align: justify;">“Arenata 1,2 e 3”</i><span style="font-family: inherit; text-align: justify;"> mi
propongo di analizzare uno stato d’animo, seguendo un preciso metodo;
l’obiettivo è la comprensione.</span><br />
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<span style="font-family: inherit;">Nel primo step, “<i>Arenata#1 (Stato d’animo in cornice)”</i> entro dentro la stanza della mia mente e
lo contemplo, ci speculo, mi stupisco e ci speculo nuovamente.<o:p></o:p></span></div>
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<span style="font-family: inherit;">In
un secondo momento, <i>“Arenata#2 (Analisi di uno stato)”</i>ne realizzo un modellino, pensando agli
scienziati che hanno realizzato il famoso modello a elica del DNA;<o:p></o:p></span></div>
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<span style="font-family: inherit;">In
ultima, in “Arenata#3 (E’ sempre utile chiedere anche agli altri)” chiedo
al pubblico<span style="mso-spacerun: yes;"> </span>di associare una
parola al termine “arenata”, in un tentativo di dialogo e di<span style="mso-spacerun: yes;"> </span>sintesi finale con il sentire degli altri.</span><br />
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<span style="font-family: inherit;">Mi
piace l’idea di ironizzare sulla questione del metodo, e in particolare di un
metodo che permetta di mettere a fuoco qualcosa di così intangibile come uno
stato d’animo lieve, non eclatante, nè drammatico: solo un semplice sentore di
paralisi; e allora l’analisi, che viene condotta parafrasando la scienza,
diventa il pretesto di un movimento, la cura.</span><span style="font-family: Century Gothic;"><o:p></o:p></span></div>
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<i><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><br /></span></i>
<i><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;">Arenata#1</span></i><br />
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<i><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><br /></span></i>
<i><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;">Arenata#2</span></i><br />
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<i><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;">Arenata#3</span></i></div>
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...Ed ecco alcune delle risposte che ho ricevuto:</span><br />
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<span style="font-family: inherit;"> <span class="Apple-style-span" style="line-height: 24px;"><b>FRANCI:</b> dispersa</span></span><br />
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<span style="font-family: inherit;"><b>ANNA:</b> “Ah Renataaa!”<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>EMI:</b> balena<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>LU:</b> sabbia<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>VALE:</b> pietra<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>MATTEO:</b> storia
arenata<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>BENNI:</b> Pesce<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>MARY:</b> estancada<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>MIRI:</b> mi viene in
mente qualcuno che si mette in mostra.. quasi fosse in mezzo all'arena a
mostrare le proprie bellezze ma non con quel tocco di poesia
essenziale affinchè la bellezza sia incantevole ... ma bensì al
contrario con quel tocco "trash" che fa della bellezza spazzatura
.....<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>DAVIDE:</b> Arcata<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>SILVIO:</b> Peccato...<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>ALESSANDRA:</b> ...mi è venuta una specie di etimologia
balorda (quella "vera" riguarda arena, spiaggia, sabbia) in cui mi è
balzato agli occhi "renata" che in latino è rinata, nata un'altra
volta, più la <b>a</b> all'inizio
che spesso si trova in parole che indicano la negazione di qualcosa, tipo afono
(chi non ha, momentaneamente, voce) e la <b>a</b> corrisponde all'alfa privativo della lingua greca. Allora in
ARENATA io ci leggo: non (ancora) rinata, l'ancora nasce dal fatto che tale
condizione è transitoria... come in afono. Spero di esser riuscita a rendere...
<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>ALESSANDRO:</b>
arenata-barca desolata<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>BLOD:</b> nave old
style- isola sperduta- ciorle con pareo improvvisato- noce di cocco <o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>PIERCIO:</b>
esatto!!!!!!!!!!! La incagliamo?<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>MONICA S:</b> Blocco,
melma ma anche una serenata a ....Renata!<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>LUCA S:</b> Un pesce
grigliato ??<o:p></o:p></span></div>
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<span style="font-family: inherit;">...<o:p></o:p></span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-80834433156459820422012-04-08T09:35:00.002-07:002013-11-24T05:32:34.709-08:00Apertura (Fai di necessità virtù)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">Tecnica mista: rami, cerniera, canetè</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-5655562847082673192012-04-08T09:25:00.001-07:002013-11-24T05:32:18.443-08:00Ritratto-Strumento di bellezza interiore<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-size: x-small;"> </span><span class="Apple-style-span" style="font-size: x-small;"><span style="font-family: inherit;"> Stampa fotografica </span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: inherit;"> Legno, Spago, Tessuto</span></span><br />
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-74547004944917052252011-06-13T02:47:00.000-07:002013-11-24T05:34:10.083-08:00Esausta (Per non morire)<br />
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-11647791632614680022011-06-13T02:37:00.000-07:002013-11-24T05:40:03.128-08:00Cosa Rimane (Per non morire)<div>
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<span style="font-size: x-small;">"Cosa Rimane": Gruccia, Bastone da tende, spago e smalto</span></div>
Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-76868683525128832702011-06-13T02:31:00.000-07:002013-11-24T05:41:04.358-08:002010-2012 (Per non morire)<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;">"2010-2012" Installazione (Comodino, Moleskin 2010 e Moleskin legno)</span><br />
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;">Dettaglio</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.comtag:blogger.com,1999:blog-93664935438441724.post-6767766063099791372011-05-16T03:45:00.000-07:002013-11-24T05:43:06.249-08:00Se bella vuoi comparire...<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUtP1Xb2pthhrPk3o4-aA_b0lACfNZtVW6v0qmnw9wThma2WWgVegvSbK0FMJs3SjJZLQX2rK47yzPNrkPdmgtKwhQRIv-7t_Ptxz5bABC45u9jXNMo2qeX2GFn77H2EPlt48Kt9dX368/s1600/forcine+copia.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUtP1Xb2pthhrPk3o4-aA_b0lACfNZtVW6v0qmnw9wThma2WWgVegvSbK0FMJs3SjJZLQX2rK47yzPNrkPdmgtKwhQRIv-7t_Ptxz5bABC45u9jXNMo2qeX2GFn77H2EPlt48Kt9dX368/s1600/forcine+copia.JPG" /></a></div>
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<span style="font-family: inherit;">China, forcine 15,5 cm X 20 cm</span><br />
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<span style="font-family: inherit;"><b>"Se bella vuol comparire"</b> è un <i>grazioso</i> lavoro sulla costrizione. E' una frase costante nell'educazione delle bambine, al punto da penetrare e diventare una tacita giustifica ad ogni forma di costrizione che ha come premio l'essere accettati.</span></div>
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<span style="font-family: inherit;">Si tratta di un disegno a china su cartoncino, con inserite vere forcine per capelli.</span></div>
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<span style="font-family: inherit;">Il formato piccolo, perchè realizzato in casa (non in uno studio, o in un ambiente dedito al lavoro d'arte), rimanda a una dimensione intima, dove spesso si mettono in atto piccole e grandi costrizioni.</span></div>
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Monica Carrerahttp://www.blogger.com/profile/12111687770181711574noreply@blogger.com