Laine de la Mer: Wool of the Sea

Archive for the ‘Concept Development’ Category

Some of my experimentations with Crali’s abstract human figure. The final figures ended up very geometric, but retained a fashion aesthetic through elongation.

Posted on: March 20, 2010

“Futurism as a rebellion of life, intuition and feeling, as a stimulating and stormy spring, declares merciless war on that doctrine, those individuals, those works which repeat the past to the detriment of the future, keep it alive and celebrate it”

Francesco Balilla Pratella

I like his fluidic movement. It reminds me of chaos and motion.

Annette Kellerman – Australia’s Forgotten Icon

So who was this woman who dared to bare her body in public in an era of prudishness; this freethinker who held such radical opinions about what women were capable of? A modern-day Venus worshipped around the world for her beautiful body and boldness, Annette Kellerman was a distance swimmer, diver, theatrical performer, mermaid, feminist, fitness advocate and soon to be internationally acclaimed silent-movie star.

February 2, 2007, 9:21 ammarieclaire

Long before Kylie or Elle, our first female superstar scandalised the world. Athlete, dancer, diver, fitness expert, model and movie star, the daring woman known as the “Australian Mermaid” was ahead of her time in every way. By Kerrie Davies

It was a hot summer’s Sunday in 1908 and Revere Beach, in Boston, USA, was packed with the usual crowd making the most of the weather. Young ladies were promenading up and down the sand in their fashionable bathing dresses – complete with sailor collars and bloomers – throwing aside their sense of modesty and showing their calves to the appreciative men. Suddenly, there was a commotion. People began pointing, women started screaming and parents hurried to cover their children’s eyes. “Shame on you!” they cried. There on the shore stood a confident young woman, resplendent in a man’s bathing costume – a skin-tight one-piece black suit with legs that ended well above her knees. She was about to wade in to the waves when a policeman strode across the beach and charged her with indecency. Annette Kellerman had arrived in America.

The 21-year-old Australian couldn’t understand what all the fuss was about. Later, pleading her case in the courtroom, she argued that she was being practical rather than provocative in choosing such revealing attire. After all, she explained, if she were to swim in the customary garb of her day, she “may as well be swimming in chains”.

Arrr I forgot to link Annette Kellerman into my concept! Well…no, I didn’t forget. Consider it a mild oversight.
Annette inspired my concept of Futurism because she embodied all the modernist ideals about embracing future through innovation and breaking the norm. Particularly in Australia…in comparison to Italy, where the Futurist Manifesto was a whole movement…Annette led this fierce ambition and broke out into America, glitzing them by controversial storm. That’s what the Futurists in Italy stood for…controversy. Or, moreso…unconventionality. And like them, Annette embraced technology and sophistication (with her practical swimsuit). It was a political statement, and she is the epitome of a definately Futurist woman for her time.

Luca Buvoli
Vector Tricolor [Entanglement of Modernist Myths] ,  2007
  Instant Before Incident at Susan Inglett

Luca Buvoli
Instant Before Incident at Susan Inglett, (?)

JP: You have called your approach to your art “meta-futuristic”. What do you mean when you use this phrase?
LB: By naming my project “Meta-Futurism”, I thought of it etymologically as “Beyond Futurism” as well as “About Futurism”, something that refers to Futurism in a ironic manner. But given my interest in what Pirandello defined “the feeling of the opposite,” I also liked that “meta-futurism” could be seen as the merging of the name of the dynamic avant-garde with the almost concurrent Metaphysical Painting by Giorgio De Chirico, that instead presented anxious and motionless landscapes, perhaps closer to my vision of that specific historical moment. As much as I would have liked to avoid any label, after the broad exposure of my work in the 2007 Venice Biennale, I realized that many visitors needed a concise term to contextualize the work. The idea for the name came soon after I read reviews of my work labeled as “para-futurist”, and “post-futurist”; in a printed interview, the writer even invented a sentence – quoted as if it were said by me – in which I defined my work as “Neo-Futurist”. I realized that if I did not try to name my post-utopian approach to Futurism myself, I had fewer chances to avoid generalization and misunderstanding.

JP: In what way has your understanding of the Futurist movement evolved as you’ve worked through certain themes in your art?
LB: My recent involvement in Futurism proceeded from the inside out, and backwards. In 1997 I had just begun Flying-Practical Training when my uncle, a decorated WWII pilot, passed away; after the event of September 2001, the Intermediate level of the Method started to reflect on recent and past fears and control in relationship to the activity of flight. In the video Adapting One’s Senses to High Altitude Flying (For Intermediates) – An Almost Silent Version (2004) I combined clips from an interview I conducted with my parents about their early memories of flight and WWII with hand-drawn and computer-generated animation. The recollections of my mother’s subjection to air raids and my father’s memory of imprisonment in camps generated a chain of freely associated words and animated sequences reflecting their inner turmoil. I imbued the dynamic style, colors, and the heroic imagery borrowed from Italian propaganda and advertising from the ‘30s and‘40s, with hesitant language, fading colors, and non-heroic content.

From the source of my immediate family, I expanded my work to the wider perspective of Italians from my parents’ generation. In addition, I was addressing parallels between demagogic strategies used by totalitarian regimes and those utilized today by media-driven societies. I went from using the language of “Secondo Futurismo” and Futurism co-opted by the National Fascist Party, to the memories of Marinetti as recalled by his eldest daughter (A Very Beautiful Day After Tomorrow, 2004-07). The interviews with both Marinetti’s daughters and Futurism scholars for the video documentary How Can This Thing Be Explained? (2004-07), gave me many additional insights on Futurism and its interpretations. As I expanded my knowledge of the period, I was trying to dismantle its rhetoric with several tactics, evoking instead a sense of instability between hope and disillusionment, patriotism and struggle, heroism and betrayal. I then completed my approach to Marinetti’s Manifesto of Futurism (1909): for Velocity Zero (2004-07), I had recorded individuals who have aphasia (speech impediment often caused by brain injury) or stutter reading the Manifesto. Their slowed speech-later transformed into fragmented animated sequences – mirrored the readers’ efforts to fluently capture the text, and their interpretation deflated the Manifesto’s praise of speed and aggression. More recently, in the sculptures Instant Before Incident (2008-09), I focused on the moment preceding the car crash that apparently inspired Marinetti to write the Manifesto.

What’s Left of the Future: an interview with Luca Buvoli
By Jessica Palmieri, 2009

[Terraced Building with exterior elevators, by Antonio Sant'Elia]Drawing by Antonio Sant'Elia

Posted on: March 4, 2010

art-documents:

Sean Landers /2005 at Friedrich Petzel Gallery, The Armory Show 2010



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  • Em: ahaha chelsea, I love this video, it's so emotional and good. I hope it's working out you silly solly.
  • Em: I have that book. Don't be fooled, its' not easy to follow! See you tomorrow fairyface