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 (92) Opportunities (6) Events (52) Jobs (0)
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

DISCUSSION

Re: Re: Cloned Object or Cloned Zanni ? This is the problem


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

DISCUSSION

Does the artbase have an historicization function?


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