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Exhibition in unreal time 2016 2017

Matteo Fieni

Table of Contents 5 Barcodes

38 Exhibition in unreal time

65-68 Captions by images

Presentation Presentazione

Presentation Presentazione

69 Captions by tributes

6 Titles Titoli Reading 1 Lettura 1 Reading 2 Lettura 2

39-61 In Paris

7-22 Architecture and urbanism

62-64 Out of Paris

70 Critical bibliography

71 About Biography Biografia Principal researches

72 Book Collector edition Exemplare n° Text Editing Layout Translation Bindery Credits Copyrights

23-30 Icons/Symbols/Sturctures 31-35 Movement of luminous bodies 36-37 Movement of human bodies

4

Barcodes

Presentation This research is based on the formal analogy between the graphic patterns, employed by the barcode system and the photographic motifs that can be obtained through mechanical processes.

Presentazione Questa ricerca si basa sull’analogia formale tra i motivi grafici (pattern) adottati dal sistema del codice a barre (barcode) e i motivi fotografici che si possono ottenere attraverso un processo meccanico.

Titles The series is currently made of about fifty images and since 2017 the experimented language has been partially exalted in the series “Exhibition in unreal time”. The name pays homage to Franco Vaccari, by playing with the title of one of his installations called “Esposizione in tempo reale” (Exhibition in real time) (Biennale Venezia 1972). The title of the series “Barcodes”, also used by Vaccari “Bar Code – Code Bar” (Biennale Venezia, 1993), is instead to be considered as pure coincidence.

Titoli La serie è attualmente composta da una cinquantina di immagini ed il linguaggio sperimentato è stato parzialmente sublimato nella serie “Exposition en temps irréel” a partire dal 2017. Il nome rende omaggio a Franco Vaccari giocando sul titolo di una sua installazione denominata “Esposizione in tempo reale” (Biennale Venezia 1972). Consderato pura coincidenza il titolo della serie “Barcodes” anch’esso usato dal Vaccari con “Bar Code - Code Bar” (Biennale Venezia, 1993).

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Reading 1 Traceability, control and critical evaluation of the data are correlated to the reactions they produce on human thought, the so-called noosphere. The industrial systems, included in what we nowadays define “market” ; the industrial landscape, to be intended as urban architecture, and the exchange of knowledge sum up in the ‘demand and supply’metaphor and are reduced to their own use. The mixing of genres is thus translated into a sociographic approach, influenced by the superstructures created by the overlap between thought and image. A mirroring that is nothing but the phenomenological sum of content and container. This contemporary imaginary is comparable to the constant remodelling between demand and supply and by the deeply-rooted automatisms of the system we live in, thus producing a faster and more dynamic data flow. Like a liquid, the thought becomes more and more shared and unitary, still responding to the logic of a present almost impossible to stop and bring into focus. The images, so called Barcodes, are hence to be intended as the reflection of this sensory and perceptual alteration’s process advanced through the combination of photo manipulation, social conventions and simulated reality.

Lettura 1 La tracciabilità, il controllo e la valutazione critica dei dati informatici sono correlati alle reazioni che producono sul pensiero degli uomini, la cosiddetta noosfera. I sistemi industriali, compresi in quello che oggi definiamo “mercato”; il paesaggio industriale, da intendersi come architettura urbana, e lo scambio del sapere si condensano nella metafora della domanda e dell’offerta e vengono ridotti alla loro stessa fruizione. La miscela dei generi si traduce così in un approccio sociografico, influenzato dalle sovrastrutture create dall’accavallamento del pensiero con l’immagine. Un rispecchiarsi che potrebbe essere la somma fenomenologica di contenuto e contenitore. Questo immaginario contemporaneo è sostenuto dal costante rimodellarsi tra domanda

e offerta e degli automatismi consolidati del sistema in cui viviamo, che producono un flusso di dati sempre più veloce e dinamico. Liquido. Il pensiero diventa così sempre più condiviso e unitario, ma risponde comunque a un presente soggettivo impossibile da fermare e mettere a fuoco.

Le immagini, definite Barcodes, ossia codici a barre, sono quindi da intendersi come il riflesso di questo processo di alterazione fisico-percettiva proposto attraverso combinazioni di manipolazione ottica, convenzioni sociali e simulazioni della realtà Reading 2 The author addresses from an aesthetic-technical point of view the transition process which essentially turns the mimesis from “iconodule”, that is generative and venerable, to “iconoclastic”. There is thus a shift to a conceptual level by focusing on the thought of an image more than on the subjects tout court. The process starts by filtering the idea of an objective reality through a purely optical manipulation, thus allowing the fleeting present to test itself in metamemory. The reproduction of information is spread in the reality, and appears in patterns. The original drawing or landscape thus turns into luminous structures. It is an “iconoclastic”operation, in the very etymological sense of the term that is “destroying images” which could remind of a mosaic. The implemented process could be defined “pure documentary uchronia”, as it produces an hypothetical subject, simulated on the basis of realistic data. These kinetic appearances obtained in just one and precise shot, exquisitely without the aid of either post-production photo manipulation, or multiple exposure, are the outcome of an analysis which brings to light that optical unconscious which many theorists, such as Rosalind Krauss, Walter Benjamin and Franco Vaccari refer to. This research consciously compares the photographic language by verifying it in the range of the features pertinent to photography. The addressed genres are, in no particular

order: documentary, landscape, urbanism and nude. The research also includes other factors, such as the movement of luminous objects in the space. The study of the metalanguage results in a new direct visual experience.

Lettura 2 L’autore affronta da un punto di vista estetico-percettivo il processo di transizione che porta essenzialmente la mimèsi da “iconodula”, vale a dire generativa e venerabile, a “iconoclasta”. Ci si sposta così sul piano concettuale concentrandosi sul pensiero di un’immagine più che sui soggetti tout court. Il processo inizia filtrando l’idea di una realtà oggettiva attraverso una manipolazione puramente ottica, permettendo all’innafferabile presente di sperimentarsi in metamemoria. La riproduzione dell’informazione si riverbera nel reale manifestandosi in patterns. Il disegno o paesaggio originario si trasforma così in strutture di natura luminosa.

Si tratta di un’operazione “iconoclasta”, nel senso etimologico del termine di “rottura di un’immagine”, che fa pensare a un mosaico estremamente estetico. Il processo messo in atto si potrebbe definire “pura ucronia documentaristica”, poiché produce un’ipotetica materia, simulata sulla base di dati realistici. Questi simulacri cinetici ottenuti in una sola e precisa ripresa, senza l’ausilio di ulteriori lavorazioni, ne di multi scatti, sono il risultato dell’assorbimento di quell’inconscio ottico-tecnico a cui molti teorici fanno riferimento, basti citare Rosalind Krauss, Walter Benjamin e Franco Vaccari. Questa ricerca propone una nuova interpretazione del linguaggio fotografico partendo da una verifica sui rispettivi generi fotografici.

6

Barcodes

Architecture and urbanism

Petrol station City Carburoil Monte Ceneri (CH) 2016

Architect: Rino Tami

7

Barcodes

Architecture and urbanism

Tram stop Bellevue ZĂźrich (CH) 2016

Tribute to Philip K. Dick

Science fiction Uchronia 8

Barcodes

Architecture and urbanism

Train station City Center Oerlikon-ZĂźrich (CH) 2016 9

Barcodes

Architecture and urbanism

Television station Swiss Broadcasting Corporation (SRG SSR) Oerlikon-ZĂźrich (CH) 2016

10

Barcodes

Architecture and urbanism

Metro station Haupbanhof ZĂźrich (CH) 2016 11

Barcodes

Architecture and urbanism

“Der kreuzung” Oerlikon-Zürich 2016

Precursor Exhibition in unreal time

12

Barcodes

Architecture and urbanism

“Airgate” Credit Suisse Oerlikon-Zürich (CH) 2016 13

Barcodes

Architecture and urbanism

“China Town” Raiffeisen Bank Zürich (CH) 2016 14

Barcodes

Architecture and urbanism

Old district Oerlikon-ZĂźrich (CH) 2016 15

Barcodes

Architecture and urbanism

District / Station Oerlikon-ZĂźrich (CH) 2016 16

Barcodes

Architecture and urbanism

“Facade” Credit Suisse Oerlikon-Zürich (CH) 2016 17

Barcodes

Architecture and urbanism

Credit Suisse district Hallenstadion Parking Oerlikon-ZĂźrich (CH) 2016 18

Barcodes

Architecture and urbanism

Cty lights Rooftop race and test track Fiat Lingotto factory Torino (I) 2016

19

Barcodes

Architecture and urbanism Industrial archaeology

La pinacoteca Rooftop race and test track Fiat Lingotto factory Torino (I) 2016

20

Barcodes

Architecture and urbanism Industrial archaeology

Gaswerk Schlieren (CH) 2016

Tribute to Bernd and Hilla Becher

DĂźsseldorf School

21

Barcodes Exhibition in unrial time (day hybrid)

Architecture and urbanism Industrial archaeology

“The cross�

Rail station (on demolition) Chiasso (CH) 2017 22

Barcodes

Icons, symbols, sturctures

“Simulacrum” Underground Bahnhof Zürich (CH) 2016

Tribute to Titus Lucretius Carus

Materialism

23

Barcodes

Icons, symbols, sturctures

“Falling rocks�

Sentiero di Gandria Lugano (CH) 2017 24

Barcodes

Icons, symbols, sturctures

“Erotik Kino “ Langstrasse Zürich (CH) 2016 25

Barcodes

Icons, symbols, sturctures

Brè Sign Monte Brè Lugano (CH) 2017 26

Barcodes

Icons, symbols, sturctures

Colorado Hotel Colorado Lugano (CH) 2017

Grayscale Hotel Colorad Lugano (CH) 2017 27

Barcodes

Icons, symbols, sturctures

Snack Bar “Le Charly” Port de Plaisance Binic (FR) 2016 28

Barcodes

Icons, symbols, sturctures

“Gotic Eiffel�

Paris (FR) 2017

Tribute to Roland Barthes

Critics

29

Barcodes

Icons, symbols, sturctures

“Pop Eiffel” Paris (FR) 2017

Tribute to Andy Warhol

Pop Art

30

Barcodes

Movement of luminous bodies

“Feux d’artifice” Fête d’Arvoir, Vannes (FR) 2016 31

Barcodes

Movement of luminous bodies

“Bumper Cars�

Luna Park Lugano (CH) 2016 32

Barcodes

Movement of luminous bodies

“An incomming Taxi�

Zona Garibaldi Milano (I) 2016 33

Barcodes

Movement of luminous bodies

Ferris Wheel Marseille (FR) 2016 34

Barcodes

Movement of luminous bodies

“Vortex” Carousel San Gilles Corix De Vie (FR) 2016 35

Barcodes

Movement of human bodies

“The Threepenny Opera” Dimitri Theater Accademy - LAC Lugano (CH) 2016

Tribute to Eadweard Muybridge Étienne-Jules Marey

Chronophotography

36

Barcodes

Movement of human bodies

Nue Descendant un escalier nr. 1 (Triptyque) Lausanne (CH) 2017

Tribute to Marcel Duchamp

Kinetic

37

Exhibition in unreal time

Presentation The research is a process of poetical perception, which follows the sociographic analysis conducted in 2016 (“Barcodes”), where the graphic elements (pattern), sprung from the optical manipulation technique, resembled the motifs adopted by the barcode system. From the image to the inquiry. Then (here) from the inquiry to the immersion, through some snaps taken in that short spatio-temporal framework that occurs between the light fading out and the dark beginning / and vice versa. When (and where) the environmental contrast decreases, the city awakens ( or falls asleep), and the depth of the image intensifies. The mechanical manipulation allows to expand the perceptual moment, thus making visible the process of the “optical and technological unconscious” (ref. Benjamin and Vaccari). It is a more figurative and “gentler” photographic action, in comparison to the linear style sought after in Barcodes.

The expansion of an ephemeral vision, like the luminous transition which divides the day from the night, and the night from the day, makes the time (and space) less real.

rispetto allo stile lineare ricercato in Barcodes. La dilatazione di una visione effimera, come la transizione luminosa che separa il giorno dalla notte e la notte dal giorno, rende il tempo meno reale.

Presentazione Questa ricerca è un processo di percezione poetica, che segue l’analisi sociografica condotta nel 2016 (“Barcodes”), in cui gli elementi grafici (pattern), scaturiti dal processo di manipolazione ottica, ricordavano i motivi adottatti dal sistema del codice a barre. Dall’immagine all’indagine. E poi (qui) dall’indagine all’immersione, attraverso degli scatti realizzati nel breve spazio-temporale che si trova tra la fine della luce e l’inizio del buio / e viceversa.

Quando (e dove) il contrasto ambientale diminuisce, la città si risveglia (o si addormenta), e la profondità dell’immagine si amplifica. La manipolazione meccanica consente di dilatare il momento percettivo, rendendo visibile il processo di “inconscio ottico e tecnologico” (rif. Benjamin e Vaccari).

Si tratta di un’azione fotografica più figurativa e “gentile”,

38

Exhibition in unreal time

“Derive” Rue inconnue Paris (FR) 2017

Tribute to Guy de Maupassant

Poetry

39

Exhibition in unreal time

“Un pont en-fer” Gare du Nord Paris (FR) 2017 40

Exhibition in unreal time

“Bloc intérior” Rue inconnue Paris (FR) 2017

Tribute to Carl Gustav Jung

Psychoanalysis

41

Exhibition in unreal time

“Don de sang” Hôpital St. Louis Paris (FR) 2017 42

Exhibition in unreal time

Temple de la Sibylle Parc des Buttes-Chaumont Paris (FR) 2017

Tribute to Victor Hugo

Drawings

43

Exhibition in unreal time Nature fiilter

“De Rerum Natura�

Parc des Buttes-Chaumont Paris (FR) 2017 44

Exhibition in unreal time

“Ricorda una palma, era un pino�

Parc des Buttes-Chaumont Paris (FR) 2017 45

Exhibition in unreal time

“La Défence de dimanche” Paris (FR) 2017 46

Exhibition in unreal time

Arc de Triomphe Paris (FR) 2017 47

Exhibition in unreal time

Basilique du SacrĂŠ-Coeur Montmartre Paris (FR) 2017 48

Exhibition in unreal time

Pantheon Paris (FR) 2017 49

Exhibition in unreal time

Hôpital Saint Louis Paris (FR) 2017 50

Exhibition in unreal time

“Hybridization” Hôpital Saint Louis Paris (FR) 2017 51

Exhibition in unreal time

Moulin Rouge Paris (FR) 2017 52

Exhibition in unreal time

“Cinetic Paris” Parc des Buttes-Chaumont Paris (FR) 2017 53

Exhibition in unreal time

Eiffel distortion Paris (FR) 2017 54

Exhibition in unreal time

Rue George Lardennois Paris (FR) 201 55

Exhibition in unreal time

“Barcodes” Canal St. Martin Paris (FR) 2017 56

Exhibition in unreal time

*L’aube de février” Canal St. Martin Paris (FR) 2017 57

Exhibition in unreal time

Canal St. Martin Paris (FR) 2017 58

Exhibition in unreal time

“La maison fromage�

X Arrondissement Canal St. Martin Paris (FR) 59

Exhibition in unreal time

“Avant Carl Andre” Musée d’Art moderne Paris (FR) 2017

Tribute to Carl Andre

Primary Structures

60

Exhibition in unreal time

“Les Deux Plateaux” Palais Royal Paris (FR) 2017

Tribute to Daniel Buren

Minimalism

61

Exhibition in unreal time

Out of Paris

“Sighignola en pleine lune�

Sentiero di Gandria Ceresio Lake (CH) 2017

Environment without artificial lights

62

Exhibition in unreal time

Out of Paris

“Lignum flammae” Sentiero di Gandria Ceresio Lake (CH) 2017 63

Exhibition in unreal time

Out of Paris

“Aliquid stat pro aliquo” Sentiero di Gandria Ceresio Lake (CH) 2017 64

Captions by images 7

10

13

Petrol station City Carburoil Monte Ceneri (CH) 2016

Television station Swiss Broadcasting Corporation Oerlikon-Zürich (CH) 2016

8

16

19

22

“Airgate” Suisse Tertiary District Oerlikon-Zürich (CH) 2016

District / Station Oerlikon-Zürich (CH) 2016

“City lights” Rooftop race and test track Fiat Lingotto factory Torino (I) 2016

“The cross” Rail station Chiasso (CH) 2017

11

14

17

20

23

Tram stop Bellevue Zürich (CH) 2016

Metro station Haupbanhof Zürich (CH) 2016

“China Town” Raiffeisen Bank Zürich (CH) 2016

“Facade” Credit Suisse Oerlikon-Zürich (CH) 2016

La pinacoteca Rooftop race and test track Fiat Lingotto factory Torino (I) 2016

Underground Bahnhof Zürich (CH) 2016

9

12

15

18

21

24

“Der kreuzung” Oerlikon-Zürich (CH) 2016

Old district Oerlikon-Zürich (CH) 2016

Credit Suisse district Hallenstadion Parking Oerlikon-Zürich (CH) 2016

Gaswerk Schlieren (CH) 2016

“Falling rocks” Sentiero di Gandria Lugano (CH) 2017

Train station City center Oerlikon-Zürich (CH) 2016

65

25

28

31

“Erotik Kino” Langstrasse Zürich (CH) 2016

Snack Bar “Le Charly” Port de Plaisance Binic (FR) 2016

26

34

37

41

“Feux d’artifice” Fête d’Arvoir Vannes (FR) 2016

Ferris Wheel Marseille (FR) 2016

Nue Descendant un escalier nr. 1 Lausanne (CH) 2017

“Bloc intérior” Rue inconnue Paris (FR) 2017

29

32

35

39

42

“The Brè Sign” Monte Brè Lugano (CH) 2017

“Gotic Eiffel” Paris (FR) 2017

“Bumper Cars” Luna Park Lugano (CH) 2016

“Vortex” Carousel San Gilles Corix De Vie (FR) 2016

“Derive” Rue inconnue Paris (FR) 2017

“Don de sang” Hôpital St. Louis Paris (FR) 2017

27

30

33

36

40

43

“The Brè Sign” Monte Brè Lugano (CH) 2017

“Dark Eiffel” Paris (FR) 2017

“An incomming Taxi” Garibaldi Milano (I) 2016

“The Threepenny Opera” Dimitri Theater Accademy Lugano Arte e Cultura (LAC) Lugano (CH) 2016

“Un pont en-fer” Gare du Nord Paris (FR) 2017

Temple de la Sibylle Parc des Buttes-Chaumont Paris (FR) 2017

66

44

47

50

53

56

59

“De Rerum Natura” Parc des Buttes-Chaumont Paris (FR) 2017

Arc de Triomphe Paris (FR) 2017

Hôpital Saint Louis Paris (FR) 2017

“Cinetic Paris” Parc des Buttes-Chaumont Paris (FR) 2017

“Barcodes” Canal St. Martin Paris (FR) 2017

“La maison fromage” X Arrondissement Canal St. Martin Paris (FR) 2017

45

48

51

54

57

60

“Ricorda una palma, era un pino” Parc des Buttes-Chaumont Paris (FR) 2017

Basilique du Sacré-Coeur Montmartre Paris (FR) 2017

“Hybridization” Hôpital Saint Louis Paris (FR) 2017

Rue George Lardennois Paris (FR) 2017

*L’aube de février” Canal St. Martin Paris (FR) 2017

“Avant Carl Andre” Musée d’Art moderne Paris (FR) 2017

46

49

52

55

58

61

“La Défence de dimanche” Paris (FR) 2017

Pantheon Paris (FR) 2017

Moulin Rouge Paris (FR) 2017

Rue George Lardennois Paris (FR) 2017

Canal St. Martin Paris (FR) 2017

“Les Deux Plateaux” Palais Royal Paris (FR) 2017

67

62

“Sighignola en pleine lune” Sentiero di Gandria Ceresio Lake (CH) 2017 63

“Lignum flammae” Sentiero di Gandria Ceresio Lake (CH) 2017 64

“Aliquid stat pro aliquo” Sentiero di Gandria Ceresio Lake (CH) 2017

68

Caption by tributes 5

25

37

43

Philip K. Dick Science fiction, uchronia

Roland Barthes Critics

Marcel Duchamp Kinetic

Victor Hugo Drawings

18

25

39

60

Bernd and Hilla Becher DĂźsseldorf School

Andy Warhol Pop Art

Guy de Maupassant Poetry

Carl Andre Primary Structures

20

32

41

61

Titus Lucretius Carus Materialism

Eadweard Muybridge and Étienne-Jules Marey Chronophotography

Carl Gustav Jung Psychoanalysis

Daniel Buren Minimalism

69

Critical bibliography Agamben, Giorgio L’uomo senza contenuto, 1994 Quodlibet Barthes, Roland La camera chiara, Nota sulla fotografia 1980 Gli Struzzi 230, Einaudi Barthes, Roland La Tour Eiffel 2011 Sevil Editeur

1966-1991 Piccola Biblioteca Einaudi Chardin, Pierre Teilhard Il fenomeno umano 2010 Editore Queriniana Cheéroux, Clément L’errore fotografico Una breve storia 2003 Piccola Biblioteca Einaudi

Bauman, Zygmunt Modernità liquida 2011 Editore Laterza

Clair, Jean Critica della modernità Considerazione sullo stato delle belle arti 1983 Umberto Allemandi & C

Baudrillard, Jean Simulacra and Simulation 2016 Michigan

Dick, K. Philip I simulacri 1998 Fanucci Editore

Belting, Hans Antropologia delle immagini 2013 Carocci Editore

Debord, Guy Société du spectacle 1992 Edition Gallimard, Paris

Benjamin, Walter L’opera d’arte nell’epoca delle sua riproducibilità tecnica Arte e società di massa

Flusser, Vilém Per una filosofia della fotografia 2006 Bruno Mondadori

Foucault, Michel Surveiller et punir 1975 Edition Gallimard, Paris Freund, Gisèle Photographie et societé 1974 Editions du Seuil Frigeni, Veronica L’incoscio ottico delal storia: per una retorica della visione perturbante in Antonio Tabucchi 2014 Between, IV.7

mondo 1989 Bollati Boringhieri Leonardi, Nicoletta Fotografia e materialità in Italia Franco Vaccari Mario Cresi Guido Guidi Luigi Ghirri 2013 Postmediabooks Krauss, Rosalind L’inconscio ottico 2008 Bruno Mondadori

Gimpel, Jean Contro l’arte e gli artisti, Nascita di una religione 2000 Bollati Borighieri

Mohnoly-Nagy, Lazlo Pittura, Fotografia e Film 1987 Piccola Biblioteca Einaudi

Jung, Carl Gustav Risposta a Giobbe 1992 Biblioteca Bollati Boringhieri

Rovelli, Carlo Sette brevi lezioni di fisica 2014 Adephi

La Cecla, Franco Contro l’urbanistica 2014 Einaudi

Rovelli, Carlo L’ordine del tempo 2017 Piccola Biblioteca 705

Latouche, Serge L’occidentalizzazione del

Salingrados, A., Nikos Antiarchitettura e

demolizione La fine dell’architettura modernista 2005 Libreria Editirce Fiorentina Sontag, Susan Sur la photographie 1993 Christian Burgois Editeur Vaccari, Franco Fotografia e inconscio tecnologico 1994 Agorà Editrice

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About Biography Matteo Fieni (CH, 1976)

Principal researches

His artistic research is characterized by an intuitive approach, an experimental spirit and a pragmatic method. Matteo investigates both the effects of the photographic medium on human perceptions and its subconscious characteristics, by combining various types of discourse into formal projects to create new visual experiences.

Exhibition in unreal time

2017 (- in progress)

2016

Pedestrian Flow Wrong Side (- in progress) Printer Damage Barcodes (- in progress) PrivcyFreeZone 2015

Interpositions 2011-2012

Good morning, Lugano

Biografia Matteo Fieni (CH, 1976)

2010-2015 (-2017)

La sua ricerca artistica è contraddistinta da approccio intuitivo, spirito sperimentale e metodo pragmatico.

Matteo indaga sia gli effetti del medium fotografico sulla percezione umana, sia le sue caratterische inconsce, combinandone i discorsi di svariata natura in progetti formali, volte a realizzare nuove esperienze visive.

1999-2000

Ritratti Metropolitani Virgin times

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Book Collector edition First autoproducted edition limited at 23 copies.

The exemplaries are numbered from 1 to 23 with three-color process on 120 gr/m2 on brillant paper.

December 2017 Exemplare n°

Editing / text Matteo Fieni Chiara Zocchi Cristian Bubola Translation Alessandra Marelli Layout Matteo Fieni Bindery Legatoria Auguadri Como (I) Copyrights All images and materials shown in this book are copyright protected.

Prolitteris Š Matteo Fieni, 2016-2017

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