Carlo Zanni
Since the beginning
Works in Mars Sierra Leone

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" to experiment new distribution models for video art and new media projects.
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Source Code

Fri Mar 18, 2011 18:00 - Sun Apr 10, 2011

Phoenix, Arizona
United States of America

Source Code, reintroduces Jon Haddock’s Isometric Screenshots to Phoenix after ten years of extensive exhibition nationwide. Alongside this acclaimed series, the video game art of Jason Rohrer (New Mexico), Paolo Pedercini (Pittsburgh), and Carlo Zanni (Italy, 1975) will be shown in Phoenix for the first time. In each artwork, the intimacy in gameplay and subjects developed by the artists draws on the collective experience of mass media and daily life.
In Jason Rohrer’s Passage, personal journey and navigating the obstacles of life and relationships are explored in what the artist calls a “memento mori,” (translated in Latin as, “remember you must die”). The simple game uses 8-bit graphics and side-scrolling mechanics to “present an entire life, from young adulthood through old age and death, in the span of five minutes.” Paolo Perdercini’s Every day the same dream, unfolds the daily tedium and anonymity of working class life, allowing the player to slowly discover and defy the confines of his existence. Isolation is traded for communal culture in Jon Haddock and Carlo Zanni’s work. Haddock’s Isometric Screenshots portray historic and fictional events in the style of the popular video game The Sims. Each piece, from a protestor’s confrontation of a tank in Tiananmen Square to the picnic in the Sound of Music appears to confront society’s relationship with cultural and historic moments, playing on relative importance placed on them in relation to each other and personal life. Zanni takes on obsession with the media and the onslaught of stimuli in the game Average Shoveler. In this piece, a solo snow shoveler on the streets of New York is bombarded with current news and imagery as he interacts with passersby and is overtaken by his thoughts.
The artists’ work has been exhibited at institutions such as the Museum of Modern Art, the Whitney, and the New Museum in New York, the Pompidou in Paris, and in locations as far reaching as Korea, Brazil, Italy, and Germany. They have been written about in Artforum, the New York Times, the Wall Street Journal, NewsweekWired magazine, and countless online articles and blogs.


Memory Leaks at CREON Gallery, opening Nov. 3

Wed Nov 03, 2010 00:00 - Mon Nov 01, 2010

[size=22][b][color=#BF40BF]Memory Leaks at CREON Gallery[/color]

Curated by Mónica Espinel[/size]

November 3 - December 4, 2010
Opening Reception: Wednesday, November 3, 6-9 pm[/b]

[i]“Nothing tells memories from ordinary moments. Only afterwards do they claim remembrance on account of their scars.”[/i]
Chris Marker’s La Jetée

Memory Leaks is a personally charged show of works that were tattooed in my brain, a subjective momentary ordering of memory, time and meaning. It is about making intangible memories palpable again; about images that ooze into my consciousness without me calling them and how time rolls back precipitated by them, making other memories leak. [b]The show features drawing, photography, sculpture, video and performance, by Angela Freiberger, Auguste Garufi, Robin Graubard, Geneviève Maquinay, Lui Shtini, Julie Tolentino, Carlo Zanni and Krzysztof Zarebski.[/b]

I have always been intrigued by the way some images or a body of work by a given artist affects me. I seek to understand why these works linger in my mind amidst the swarm of images that I have experienced, why they keep coming back and how my remembrance of them has mutated with time. In the process of retrieving, finding and reintroducing myself to the work or the artists for the first time, it has been revealing to see the threads amongst them; how my recollections are often linked to the feelings or memories triggered, thus providing vital clues to what has marked me in time and highlighting the importance of emotion in the fixation and recalling of memories.

Several artists perceive the body as a locus of art-making. Angela Freiberger’s Strong Body is a celebratory video peopled with multiple self-portraits about her resilience as a sculptor and performance artist, with sardonic notes on the complexities of religion and nationality. Julie Tolentino will present a sculpture entitled LEAD:Led, a trace of a private performance (performed by Aliza Shvarts for curator Monica Espinel) which touches on notions of loss and transition, evoking a presence through absence in the residual traces of the live action. Krzysztof Zarebski’s Message 1 is built of readymade materials like snips of magnetic tape and a telephone handset, which pertain to the sense of hearing but have long since lost their original appearance and utility, yet preserve memories of their origins, potentially encapsulating some music, sounds, words.

Other works touch on illness such as Carlo Zanni’s The Possible Ties Between Illness and Success, an unsettling short fiction film that uses data flux from the Internet to generate its visuals. It is inspired by John Haskell’s "American Purgatorio" and the work of psychiatrist Kay Redfield Jamison who explored the relationship between manic-depression and success at large. A black and white portrait by Robin Graubard, The Doll Hospital, is a gripping, intense image that portrays with absolute intimacy and empathy the vulnerability of a girl waiting for surgery on a hospital bed in Sarajevo.

Yet others reflect on process, materials and juxtapositions. A sculpture installation by Auguste Garufi is composed of Japanese paper and resin vessels with slight chromatic fluctuations. Together they elucidate the translucency and weight of paper, and reflect on his process of making work that builds on itself, that is exposed to the elements, like our own lives. Geneviève Maquinay’s sculptures are an archeology of objects arrested in their process of aging and oblivion that touch and balance each other, taking on a new beauty and harmony, which transmits her sensitivity to commonplace wonders. Lui Shtini’s uncanny drawings in a hyperrealistic style challenge our perception of known objects by creating images with bizarre twists that awaken the language of the unconscious.

[b]Gallery hours are Wednesday through Friday 1-7pm and Saturday 2-5pm. Performance dates will be announced soon. For further information please contact Norm Hinsey at 646.265.5508 or

CREON Gallery · 238 East 24 St, 1B · New York, NY 10010 ·[/b]


SanctionedArray at White Box

Tue Nov 02, 2010 00:00 - Mon Nov 01, 2010

SanctionedArray at White Box , New York

329 Broome Street. New York, NY. 10002

Screening Event: November 2, 12-10 PM
and November 3, 11-7 PM at White Box

Roundtable Discussion: November 2, 7 PM

SanctionedArray is an online database of video art conceived in response to the exclusion of artists from
OFAC (Office of Foreign Assets Control) sanctioned countries from participating in YouTube Play. A Biennial
of Creative Video. Artists who are citizens or residents of Belarus, Cote d'Ivoire, Congo, Cuba, Iran, Iraq,
Lebanon, North Korea, Somalia, Sudan, Syria, Myanmar/Burma, and Zimbabwe are not eligible to submit
their work. We maintain that the application of OFAC sanctions to the video biennial perpetuates the
conditions that led to the imposition of these sanctions.
One hundred finalists will be selected from the 781 entries by a jury comprised of international art
professionals for the SanctionedArray online database. An interactive screening of the selected entries will
be held on November 2nd and 3rd at White Box. The roundtable discussion, on November 2nd, will
include Wafaa Bilal, artist, Hamid Dabashi, author and professor, Columbia University, Shayana Kadidal,
attorney, Center for Constitutional Rights, and Ricardo Miranda Zúñiga, artist.
Evolving from SanctionedArray is CuratorsArray, an ongoing series of video exhibitions and screenings by
independent curators drawing from the SanctionedArray database. The first iteration of CuratorsArray is
Others2Specify, a playlist of 52 videos curated by SpecifyOthers from the first call for submissions. It will
premiere at Big Screen Project on October 25th, then screened again at White Box on November 2nd and
3rd, and posted online afterwards. The premiere will coincide with the Play biennial at the Guggenheim, to
challenge the status quo by providing a platform for artists excluded due to their country of origin. At
SanctionedArray, we look forward to having everyone play.
To submit your work, visit
Conceived and organized by Specify Others in collaboration with White Box, and co-presented by ArteEast.


Acepto las condiciones: usuarios y proveedores en la web 2.0 by PAU WAELDER

Wed Oct 20, 2010 00:00 - Wed Oct 20, 2010

Acepto las condiciones: usuarios y proveedores en la web 2.0

El próximo 21 de octubre, el museo Guggenheim de Nueva York presentará la selección de los 20 vídeos finalistas de la Bienal de Vídeo Creativo YouTube Play, una iniciativa...