Roberto Rossini

Bio

lives and works in Genoa, Italy. Since the mid-70s is one of the protagonists of performance?s Italian scene. Mainly live actions, installations and videos, his works ? product of a psycho-corporeal and transmedial research ? are shaped like events dealing with the separation experienced between sense and the instruments of knowledge: perception-receptiveness-presence. This practice gave birth to the projects presented in many performance and visual art festivals, often in particular spaces, such as industrial plants, historical buildings, religious temples and natural environments. Was author of a RAI broadcast series of experimental radio programmes and realized video-art works dealing with the processes of the unconscious mind and the concepts of imagine-time-movement. During his activity, he deepened the anthropological roots of performative research by getting in touch with native cultures and through many seminars on corporal research. Recently he published the book: ?The performance between art, myth, ritual and play?. He has also given lectures and leaded workshops on the subjects of performance and multimedial communication. He teaches at the IATGong – Traditional Arts Institut of Genoa.

Statement

Zeitgeist (the spirit of time) – episode n. 13 and if we live… aesthetic-ritual action

  • is a work in progress: it?s a reflection upon time, the passing of time and the time we live in.
  • is a instrument of the mind, an anti-technical technique that provides action with a mythical connotation and allows the poetic act to happen.
  • is the consciousness of matter as the realms of the fragmentary, the parcelled-out, the discontinuous; it is a reparation ritual to the plague of the spectacle world; the materials used are chips of sign, parts of sense, traces of thought, shadows of meaning.
  • pursues the vision of a mythical, cyclical time where myth is meant to stop the flux of contemporary time.
  • is basically an emotional work; it is the gesture, the certainty of making poetry at a speed as close as possible to that of the human brain. – the video images is the result of editing the fragments, video-frames and sounds used in the performances as stereotyped images of media communication, often drawn from the language of the spectacle world, taken out of context and blended into the project to create a sort of contemporary iconostasis.
Skills

Posted on

17 April 2012