1,773,018 research outputs found
Brief von Vito Laterza an Josef Steindl
No full textBRIEF VON VITO LATERZA AN JOSEF STEINDL
Brief von Vito Laterza an Josef Steindl ([1]
Vito Imperiale
No full textVideo interview with Vito Imperiale as part of the Italian Cinema Audiences projec
Vito Signorile
No full textVideo interview with Vito Signorile as part of the Italian Cinema Audiences projec
Trause, Vito, March 13, 2009 [Interview]
No full textVito Trause was interviewed on March 13, 2009, by Thomas Lester about his experiences during World War II.World War I
I telefoni bianchi (e neri). Introduzione a Ennio Bìspuri, Il cinema dei telefoni bianchi, Roma, Bulzoni, 2020
No full textSi tratta dell'introduzione al volume di Ennio Bispuru sui "telefoni bianchi" (la commedia italiana durante il periodo fascista), pubblicato nella collana "Zootropio" diretta da Vito Zagarri
Pryings
No full textPryings is a video recording of a performance by Vito Acconci in public with Kathy Dillon at a New York university.
The artist shows a situation in which he is trying by force to open the eyes of the woman who stubbornly persists in keeping them closed. The camera follows the action of the couple by focusing on the chests of two of the protagonists. He pulls at her eyelids while she keeps her eyes shut tight. She tilts her head forwards and backwards, but he takes it in his hands and straightens it again. When her long hair covers her face, Vito Acconci sweeps it away with one hand and keeps the woman against him with the other. He pulls on her skin again and one eye opens, but the woman hides her iris by turning her eyes in their orbits. The white eye sees nothing. She struggles, pulling with her the body of the artist who holds her by the shoulders. The couple's tension is a source of emotion. The live soundtrack gives an idea of their movements and, in particular, Vito Acconci's breathing becomes louder with the physical effort.
This struggle represents tensions - rather than oppositions - in couples of forces: feminine/masculine, open/closed. Vito Acconci experiments with the action of one individual aware of the other (open to the outside) on an individual closed in on herself.
The non-resolution of this situation highlights the resources used in the performance. In Vito Acconci’s conception and the logic initiated by his introspective actions - filmed in Super 8 - the performance has physical resources, the body as place or medium, and a clearly delimited space. Pryings is a representation of the performance as an artistic process and medium, and a metaphor of the idea "opening someone's eyes".film still, Acconci attempting to force open Kathy Dillon's eye with his hand
Seedbed by Vito Acconci (1972): a performance between public and private, desire and repulsion
Full text linkopenLa tesi vuole approfondire la figura di Vito Acconci, poeta, performer e architetto americano, considerato uno dei padri fondatori della Body Art, concentrandosi in particolare su Seedbed, una delle sue performance più importanti e provocatorie, ricordata per la grande capacità dimostrata nell’influenzare non solo la restante attività artistica dello stesso Acconci, ma anche gran parte della generazione di artisti e performer che hanno seguito le sue orme nei successivi anni. Seedbed venne presentata nel 1972 alla Sonnabend Gallery di New York in occasione di una mostra personale di Vito Acconci. Essa giocava a sgretolare i tabù dell’epoca attraverso una continua oscillazione tra dimensione pubblica e privata, tale da non consentire una chiara distinzione tra le due, e tra desiderio e repulsione in un contesto in cui le udibili fantasie erotiche dell’artista erano stimolate dallo spettatore, individuo che poteva decidere di mettersi in ascolto o, al contrario, di fuggire da quella che Teresa Macrì ha definito “un’asfissiante scatola psicosessuale”.
L’elaborato confronta diverse posizioni critiche al fine di creare una panoramica quanto più ampia possibile dell’opera presa in esame, mettendo in evidenza eventuali concordanze e discordanze tra le diverse voci, e termina con l’analisi del secondo momento di Seven Easy Pieces (2005), un progetto di Marina Abramovic in cui l’artista serba ha proposto una re-performance dei lavori che maggiormente hanno influenzato lo sviluppo della sua personalità artistica. Tra le sette performance scelte, due sono di Abramovic e cinque appartengono a colleghi artisti: tra queste spicca proprio Seedbed di Vito Acconci.This thesis aims to delve into the figure of Vito Acconci, an American poet, performer and architect who is considered one of the founding fathers of Body Art, focusing in particular on Seedbed, one of his most important and provocative performances, remembered for the great capacity it showed in influencing not only the remaining artistic activity of Acconci himself, but also a large part of the generation of artists and performers who followed in his footsteps in the following years. Seedbed was presented in 1972 at the Sonnabend Gallery in New York on the occasion of a solo exhibition by Vito Acconci. It played at crumbling the taboos of the time through a continuous oscillation between public and private dimensions, such that there was no clear distinction between the two, and between desire and repulsion in a context in which the artist's audible erotic fantasies were stimulated by the viewer, an individual who could decide to listen or, on the contrary, to flee from what Teresa Macrì has called "an asphyxiating psychosexual box."
The paper compares different critical positions in order to create as broad an overview as possible of the work examined, highlighting possible concordances and discordances between the different voices, and ends with an analysis of the second moment of Seven Easy Pieces (2005), a project by Marina Abramovic in which the Serbian artist proposed a re-performance of the works that most influenced the development of her artistic personality. Among the seven performances chosen, two are by Abramovic and five belong to fellow artists: among them Vito Acconci's Seedbed stands out
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