Carlo Zanni
Since the beginning
Works in Mars Sierra Leone

PORTFOLIO (3)
BIO
Carlo Zanni was born in La Spezia (Italy) in 1975. Since the early 2000's his practice involves the use of Internet data to create time based social consciousness experiences investigating our life. He lives far from the worldliness of the art world while showing and screening his projects in venues worldwide including: Hammer Museum, Los Angeles; New Museum, New York; Tent, Rotterdam; MAXXI, Rome; P.S.1, New York; Borusan Center, Istanbul; ACAF Space, Alexandria; PERFORMA 09, NY; ICA, London; Wood Street Galleries, Pittsburgh; Science Museum, London.
He founded "People From Mars" http://www.PeopleFromMars.org to experiment new distribution models for video art and new media projects.
http://www.zanni.org
Discussions (91) Opportunities (6) Events (50) Jobs (0)
DISCUSSION

Re: Does the artbase have an historicizationfunction?


Hi Alena

>>I did not come across your project as a past submission

no, exact I didn't submit that work ....but I don't think this is the
point.
Now I copy a work by Napier (just pulse is listed) and you accept it in the
art only because he didn't send you an application?
I'm not famous as Napier and for this reason I sent to rhizome the email.

> to not include "Hole in the Sky" simply because your project exists
somewhere else seems a bit extreme.

Alena are you kidding me? "exists somewhere else" are you kidding me?
for long-time I work with not loaded images , I also made a lot of paintings
with those subjects.
it's a kind of logo. And this doesn't mean nobody else can use them. Of
course they can !!!
But not coping exactly my work. That's what I'm saying. and it doesn't
matter if he doesn't know me or my work because in that work there isn't any
plagiarist internationality. Does the artbase have an historicization
function? If so there is no reason to accept that work that is the same I
did years ago.
And i didn't tell you nothing about you didn't know my work. There are a lot
of things in the air so i understand we can't not know everything. But i
sent you an email with all the details about what is happened.. so ..

>>and I apologize for any personal offense you may have taken to our
inclusion of "Hole in the Sky" in the ArtBase.

the offense are all these words and emails because Rhizome is trying to
climb mirrors.
It's ridiculous, in my mail box i've emails and emails of people disgusted
from this behaviour.
And this fact could be happen again and again.

Best Regards,

Carlo Zanni

----- Original Message -----
From: "Alena Williams" <alena@rhizome.org>
To: <list@rhizome.org>; "zanni.org" <cz@zanni.org>
Sent: Thursday, July 03, 2003 8:50 PM
Subject: Re: RHIZOME_RAW: Does the artbase have an historicizationfunction?

> Hi cz:
>
> When I read your initial post, I thought (as you seem to suggest below)
that
> you were simply informing us that you did a similar project which may have
> been made before "Hole in the Sky." Although originality is one of the
> factors we consider when deciding whether or not to include an artwork, it
> is virtually impossible to avoid all duplication (on a large and small
> scale) in the archive. In fact, many artists have explored similar issues
> using similar means but, on some level or another, have ultimately
produced
> projects which each exhibit their own unique characteristics. Although the
> Rhizome staff at times does encourage artists to submit their work to the
> archive, we rarely solicit the submission of projects with methods similar
> to those of museum curators, who, for example, exhaustively vet their
> potential purchases for originality and so on.
>
> Moreover, despite the fact that the ArtBase remains to be one of the most
> comprehensive archives of new media art, it is by no means entirely
> exhaustive. As a result, a number of projects appropriate to the archive
> and its aims (as your project appears to be) have not been included in the
> archive, simply because artists do not venture to submit their work.
Posting
> to the list does not automatically initiate this process.
>
> Nevertheless, this duplication is certainly not intentional, and I
apologize
> for any personal offense you may have taken to our inclusion of "Hole in
the
> Sky" in the ArtBase. But especially since your project is currently not in
> the archive and I did not come across your project as a past submission--I
> just checked my records, but please let me know if I am mistaken--to not
> include "Hole in the Sky" simply because your project exists somewhere
else
> seems a bit extreme. It is a more serious matter, of course, if you think
> that your intellectual property has been infringed in some way.
>
> Best regards,
> Alena
>
> + + +
>
> Alena Williams
> ArtBase Coordinator
> Rhizome.org
>
> > Does the artbase have an historicization function?
> >
> > Does the artbase have "quality" as distinguishing mark?
> >
> >
> > what happened with " Hole in the Sky " by Tom Scarpino (Hi Tom)
> > http://www.rhizome.org/object.rhiz?14018
> > it's not a great thing for the reputation and the reliability of the
artbase.
> > Above all because it's a "curatorial oriented" process and not an
automatic
> > one.
> >
> > 1- Everybody depends from others, but in this case the work it's the
same.
> >
> > 2- There isn't a duty in knowing my 2001 work (even if it passed through
the
> > list) but once this thing has been emphasized ,
> > why any official voice wrote me back?. ... everybody can make a
mistake..
> > where is the problem?
> >
> > I'm really disappointed from this behavior
> > i was expecting an answer from the artbase crew.
> >
> > Thank you
> >
> > cz
> >
> > http://www.zanni.org
> > + ti esrever dna ti pilf nwod gniht ym tup
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at http://rhizome.org/info/29.php
> >
>
>
>
>
>

DISCUSSION

Re: Historically Significant Imitations


there is a misunderstanding
i think you didn't read my emails:

"no I didn't approach him (TS), because I think there is no reason. Perhaps
we had
the same idea.. There is just a difference in the time and as author I
wanted to remark what I did.
I think this fact hides two key issues present in new media art works:
I mean memory and authorship.

Due to the ephemerality of net works, this two factors require a lot of
attention in an historicization - storage process. (even if partial as the
artbase is) "

i said TS didn't copy my work, i think he doesn't know me-my work
there isn't any intentionality - (plagiarism) in that work.
but the artbase that has an historicization function accepted it.
and this is a problem.

carlo

----- Original Message -----
From: <Rachel@rhizome.org>
To: "cz" <cz@zanni.org>
Cc: "RHIZOME" <list@rhizome.org>; <kjj@libero.it>; <rachel@rhizome.org>;
"Eryk Salvaggio" <eryk@maine.rr.com>; "Yucef Merhi" <www@cibernetic.com>;
<marc.garrett@furtherfield.org>
Sent: Thursday, July 03, 2003 9:32 PM
Subject: Re: Historically Significant Imitations

>
> > TS can copy what he prefers, how many times he wants. The only problem
is
> > that ArtBase that (i was thinking) should have an historicization
> > function,
> > accepted it.
> > So following your idea next year I can take the ascii works by eryk,
> > change
> > 1 color and then this wonderful reinterpretation will be listed as a new
> > work? Everything in this digital age can be copied and restyled and
that's
> > the reason why people's brains in valuating things (artworks, songs,
> > poetries and so on.) are so important today .
>
> Yes, if you were undertake a project to copy, deliberately, Eryk's work,
> he (Eryk) might not *like it,* but it could constitute a project. In that
> case, since you had made it clear that you were interested in making a
> work about copying and plagiarism, I think the Eryk-copies would be read
> in the historical context of those modes.
>
> I didn't suggest that TS intended to copy your work -- I think that is how
> you're interpreting it, but that is your call. I have no idea.
>
>
> >
> > Perhaps you believe in djing. i don't.
> >
> > so thank you for your time Rachel,
> >
> > all the best,
> > carlo zanni
> >
> > "As a friend, as a friend, as an old enemy
> > Take your time, hurry up
> > The choice is your, don't be late
> > Take a rest as a friend as an old memoria"
> >
> > come as you are, nirvana
> >
> >
> >
> >
> >
> > ----- Original Message -----
> > From: <Rachel@rhizome.org>
> > To: "Eryk Salvaggio" <eryk@maine.rr.com>
> > Cc: "cz" <cz@zanni.org>; <marc.garrett@furtherfield.org>;
> > <rachel@rhizome.org>; "RHIZOME" <list@rhizome.org>
> > Sent: Thursday, July 03, 2003 7:27 PM
> > Subject: Re: Historically Significant Imitations
> >
> >
> >> To me there are obvious similarities and differences with the works. In
> >> both, the use of two image fields represents the twin towers. Carlo's
> >> work
> >> uses color however, to suggest the passage of time, and I think, an
> >> emotional range.
> >>
> >> But even if the Scarpino piece uses imitation or derivation, I don't
> >> think
> >> that precludes its inclusion in the artbase, or invalidates it as a
> >> work.
> >> Imitation, derivation and appropriation have been established practices
> >> for centuries. Artists would often compete and dialogue with one
another
> >> by painting the same landscape, or mythical scene, using the same
> >> conventions -- pushing the limits of painting a particular building or
> >> church -- seeing what happened when the building was painted by
> >> different
> >> hands with unique techniques. In contemporary discourse, appropriation,
> >> re-photography, plagiarism are de rigeur. Examples include Sherry
Levine
> >> (After Walker Evans), and Rauschenburg's piece when he erased a de
> >> Kooning
> >> to make his own work (I think it was de Kooning.). As you point out
> >> Eryk,
> >> online, authorship is even more slippery (01's), and net artists have
> >> had
> >> to go so far as to foreground url data to render a web work unique
> >> (Lialina's Agatha Appears).
> >>
> >> Carlo, I think if I were you, I would try to think of Scarpino's piece
> >> in
> >> dialogue with yours -- perhaps a tribute, perhaps a response. Maybe it
> >> comes out of a totally different context that renders it an important
> >> expression (e.g. Scarpino's relationship to 9.11, his work in
> >> architecture, his all white oeuvre -- I am making these up, but you see
> >> my
> >> point). I find your work more interesting in light of the fact that
> >> there
> >> is other, similar work being made -- it makes one want to dig deeper.
> >>
> >> Finally, there isn't anything "new" or "original" about using forms for
> >> web compositions, (and I don't even know if "new" or "original" makes
> >> work
> >> valuable anymore) as I am sure you are aware. If you think you've been
> >> ripped off in the mean-spirited sense of the word, I would encourage
you
> >> contact Alena about it. But given the trauma of 9-11, and people's need
> >> to
> >> respond and react to it, I personally doubt that is a dominant factor
of
> >> Scarpino's project.
> >>
> >> I will leave the artbase policy for Alena to address.
> >>
> >>
> >
>

DISCUSSION

Re: Historically Significant Imitations


Hi Rachel,
I perfectly understand , that's your opinion.

this is what i did (not only the colored version):
http://www.zanni.org/pagine/menu12twc2.htm
(two years ago, a week or two after that colored first version)

and this is TS work: http://www.rhizome.org/artbase/14018/

words and words ... plagiarism: but they are the same.
(01 with hell ?, it's a different thing, Rauschenberg? it's a different
thing again..)

TS can copy what he prefers, how many times he wants. The only problem is
that ArtBase that (i was thinking) should have an historicization function,
accepted it.
So following your idea next year I can take the ascii works by eryk, change
1 color and then this wonderful reinterpretation will be listed as a new
work? Everything in this digital age can be copied and restyled and that's
the reason why people's brains in valuating things (artworks, songs,
poetries and so on.) are so important today .

Perhaps you believe in djing. i don't.

so thank you for your time Rachel,

all the best,
carlo zanni

"As a friend, as a friend, as an old enemy
Take your time, hurry up
The choice is your, don't be late
Take a rest as a friend as an old memoria"

come as you are, nirvana

----- Original Message -----
From: <Rachel@rhizome.org>
To: "Eryk Salvaggio" <eryk@maine.rr.com>
Cc: "cz" <cz@zanni.org>; <marc.garrett@furtherfield.org>;
<rachel@rhizome.org>; "RHIZOME" <list@rhizome.org>
Sent: Thursday, July 03, 2003 7:27 PM
Subject: Re: Historically Significant Imitations

> To me there are obvious similarities and differences with the works. In
> both, the use of two image fields represents the twin towers. Carlo's work
> uses color however, to suggest the passage of time, and I think, an
> emotional range.
>
> But even if the Scarpino piece uses imitation or derivation, I don't think
> that precludes its inclusion in the artbase, or invalidates it as a work.
> Imitation, derivation and appropriation have been established practices
> for centuries. Artists would often compete and dialogue with one another
> by painting the same landscape, or mythical scene, using the same
> conventions -- pushing the limits of painting a particular building or
> church -- seeing what happened when the building was painted by different
> hands with unique techniques. In contemporary discourse, appropriation,
> re-photography, plagiarism are de rigeur. Examples include Sherry Levine
> (After Walker Evans), and Rauschenburg's piece when he erased a de Kooning
> to make his own work (I think it was de Kooning.). As you point out Eryk,
> online, authorship is even more slippery (01's), and net artists have had
> to go so far as to foreground url data to render a web work unique
> (Lialina's Agatha Appears).
>
> Carlo, I think if I were you, I would try to think of Scarpino's piece in
> dialogue with yours -- perhaps a tribute, perhaps a response. Maybe it
> comes out of a totally different context that renders it an important
> expression (e.g. Scarpino's relationship to 9.11, his work in
> architecture, his all white oeuvre -- I am making these up, but you see my
> point). I find your work more interesting in light of the fact that there
> is other, similar work being made -- it makes one want to dig deeper.
>
> Finally, there isn't anything "new" or "original" about using forms for
> web compositions, (and I don't even know if "new" or "original" makes work
> valuable anymore) as I am sure you are aware. If you think you've been
> ripped off in the mean-spirited sense of the word, I would encourage you
> contact Alena about it. But given the trauma of 9-11, and people's need to
> respond and react to it, I personally doubt that is a dominant factor of
> Scarpino's project.
>
> I will leave the artbase policy for Alena to address.
>
>

DISCUSSION

Re: Does the artbase have an historicization function?


Dear Rachel,

>>> you seemed to be comparing your work to someone else's. Reading your
posts I am more confused. You don't like a project that was accepted into
the artbase?

I'm not comparing my work to someone else's. The fact is that TS's work is
the SAME I did 2 years ago and the problem is that ArtBase listed it.
There isn't a duty to know my 2001 work (even if it passed through the list)
but once this thing has been emphasized, I think artbase people have to pay
attention because this fact hides two key issues : memory and authorship.

I just want to defend my work. It's not possible to historicize a work
already done by another artist 2 years before.
Simple and Clear.

cz

DISCUSSION

Re: Does the artbase have an historicization function?


>>Did you send copies to the artbase people

I sent an email to Mark and Rachel

>>I think you are mistaken, it is more of an automatic process than a
curational one
>>I don't think they are interested in quality or originality all that much.

I was thinking the opposite... if so: bad political choice..
what is the reason for submitting an artwork to the artbase?

cz