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 (51) Jobs (0)
EVENT

Interview: Carlo Zanni's "Average Shoveler" (2004)


Dates:
Sat Jun 26, 2010 00:00 - Mon Apr 26, 2010

Interview: Carlo Zanni's "Average Shoveler" (2004)

This interview took place in April of 2010 via email and it's part on an ongoing series curated by Mathias Jansson on the milestones of Game Art.

"Average Shoveler" (2004) was one of the Rhizome Commissions 2004

http://www.gamescenes.org/2010/04/interview-carlo-zannis-average-shoeveler-2004-.html

http://www.gamescenes.org



EVENT

CARLO ZANNI : Flying False Colors


Dates:
Thu Dec 10, 2009 00:00 - Thu Dec 10, 2009

Location:
Italy

Marselleria Permanent Exhibition presents Carlo Zanni

CARLO ZANNI : Flying False Colors

Marselleria Permanent Exhibition

CARLO ZANNI: Flying False Colors

December 1 - December 23, 2009


Marselleria Permanent Exhibition
Via Paullo 12/a
Milan, IT 20135
+39.02.76394920
Monday to Friday, 10 am to 6pm
http://www.marselleria.com

Flying False Colors (The Sixth Day) is a multiplatform project that unravels and reveals the link between oil consumption, politics and environmental problems in the 30 countries supervised by the Joint Oil Data Initiative, an institution founded in 2001 to estimate how much oil is requested each month by the main consumers of black gold worldwide.

In the silence of the Marselleria Permanent Exhibition, the rustle of a flag connected to a compressor modulated by a computer provides the troubling visual and audio transposition of the continuous impoverishment of the world's oil resources. The wind is programmed to blow the flag at a specific speed and in a specific direction for a period of time in correlation to the number of barrels of oil requested by a given nation and the weather in that country's capital. When, for example, the flag waves southward for 14 seconds, it could refer to the demand for oil and weather conditions in Italy, while when it blows towards the northeast for 72 seconds it could represent China.

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DISCUSSION

Solo Show, Marsèlleria, Milano


Marselleria Permanent Exhibition presents Carlo Zanni

CARLO ZANNI : Flying False Colors

Marsèlleria Permanent Exhibition

CARLO ZANNI: Flying False Colors

December 1 - December 23, 2009


Marsèlleria Permanent Exhibition
Via Paullo 12/a
Milan, IT 20135
+39.02.76394920
Monday to Friday, 10 am to 6pm
http://www.marselleria.com

Flying False Colors (The Sixth Day) is a multiplatform project that unravels and reveals the link between oil consumption, politics and environmental problems in the 30 countries supervised by the Joint Oil Data Initiative, an institution founded in 2001 to estimate how much oil is requested each month by the main consumers of black gold worldwide.

In the silence of the Marsèlleria Permanent Exhibition, the rustle of a flag connected to a compressor modulated by a computer provides the troubling visual and audio transposition of the continuous impoverishment of the world's oil resources. The wind is programmed to blow the flag at a specific speed and in a specific direction for a period of time in correlation to the number of barrels of oil requested by a given nation and the weather in that country's capital. When, for example, the flag waves southward for 14 seconds, it could refer to the demand for oil and weather conditions in Italy, while when it blows towards the northeast for 72 seconds it could represent China.

image

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EVENT

Performa 09 - WHITE NOISE III: Pandora's Sound Box curated by Lara Pan


Dates:
Mon Nov 02, 2009 00:00 - Sun Nov 01, 2009

WHITE NOISE III: Pandora's Sound Box
Performa 09

November 2 - 22, 2009
Opening: Monday, November 2 from 7 - 9 pm

Curated by Lara Pan


WHITE BOX PROJECTS:

Nov 2-8 Django Hernandez: President's Secrets

Nov 8-12 Davide Bertocchi: Exhaust

Nov 12-15 Roberts Lazzarini: Rats

Nov 16-22 An impromptu event by Olaf Breuning

Special Performances:

Michael Aerts and Vadim Vosters, Refence, Nov 2 at 5pm

WHITE BOX is pleased to present WHITE NOISE III: Pandora's Sound Box for PERFORMA 09 opening on Monday, November 2nd and on view through November 22nd. PERFORMA 09 is the third edition of the internationally acclaimed biennial of new visual art performance.

Pandora's Sound Box is an interactive multimedia exhibition conceived to destabilize and reactivate our vision of the current global political landscape through performance, sound, video and site-specific installations. The exhibition demonstrate a kind of experiment of associative imagination by which the viewer may explore other dimensions of Pabst's controversial 1929 film Pandora's Box, which exposed and explored the fear of female sexuality. Although considered thirty years ahead of its time, Pandora's Box was banned by Hitler upon its release and classified as "degenerate art." Pandora's Sound Box deals with the identification of fear in contemporary society, i.e. fear of war, terrorism, immigration, and the media, as conveyed through the strong material presence of sound. The exhibition in the main gallery space features work by Pierre Bismuth, Agnieszka Kurant, Matthieu Laurette, Oswaldo Macia, and Carlo Zanni. WHITE BOX PROJECTS space will feature special changing installations by Django Hernandez, Davide Bertocchi, Robert Lazzarini, and Olaf Breuning. Special performances by Michael Aerts and Vadim Vosters, as well as Tanja Ostojic will take place as part of the exhibition.

Pierre Bismuth's The Bruce Nauman Project is a new installation, which draws a futuristic scenario of the fate of art. Following the legacy of the avant-gardes whose artistic research was profoundly anchored in the exaltation of modern life, The Bruce Nauman Project captures the present in its most contemporary forms and transforms it into a blueprint for the future.

Agnieszka Kurant's Future Anterior (2008) is an edition of the New York Times from the year 2020, as predicted by a professional clairvoyant who collaborates regularly with Interpol, police and governments. His forecasts were developed into an issue of the New York Times with articles written by NYT journalists and other ghostwriters. In reproducing the exact parameters of the New York Times from a bar code to advertisements, it is printed with disappearing heat-sensitive ink, which becomes completely invisible above 26 C and returns to black when it is cooled down.
As a result , the newspaper appears and disappears depending on the weather conditions, the temperature of the room or the warming touch of human hands. The piece draws on the existence of the elements of the future in the present. What is now completely fictitious will partly become true in 2020.

Since his first Apparition on Tournez Manege (1993), Matthieu Laurette has been developing an ongoing series of what he calls 'Apparitions' on TV and in the media. (In French, the word apparition means both 'apparition' and 'appearances'). ForPandora's Sound Box, Laurette will develop a new performative series of Apparitions, airing on various American national TV channels from October 27 through November 1st, and continuously on the Video Box in White Box's exterior window. For the opening on November 2nd, Matthieu Laurette will conceive a site-specific related performative event.

Oswaldo Macia's sound installation Darfur (2006) evokes a proverb from Darfur region: "The dog barks, but it makes no difference to the camel - we are the dogs, the world is the camel." Arranged in 12 channels, the piece is composed by a selection of two hundred different barking and yelping recordings made in a Cagliari compound of abandoned mongrel dogs. The analogy between the Darfur proverb, the abandoned mongrel dogs, and the deaf camel brings out a poignant sense of harsh severity, illustrating a world that refuses to listen or to act against the suffering of others.

Carlo Zanni's The Fifth Day is the second installment of a trilogy inspired by the Three Days of the Condor by Sidney Pollack. This work is a sequence of ten networked pictures depicting a taxi ride in Alexandria, Egypt.

Tanja Ostojic's delegated performance Misplaced Woman portrays activities from everyday life, signifying a displacement common among transients, migrants and disaster refugees as well as the itinerant artist traveling the world to earn her living.

Michael Aerts and Vadim Vosters perform Refence, a fencing confrontation between the artists, claiming a new position in the art of fencing between fencing as a sport, theater fencing, spectacle fencing and modern academic fencing known as mensur. The performance examines the boundaries of four work related values/dichotomies in our society (power/distance, uncertainty/avoidance, masculinity/femininity and individualism/collectivism). The artists are masked in their nonverbal confrontation, resulting in a kind of visual dance.

Django Hernandez' President's Secrets (2006) incorporates found record players, coffee tables and lamps with recorded texts and sound. Upside down lamps project transcriptions of secret presidential phone conversations.

Davide Bertocchi's Exhaust (2009) is a montage of several short You Tube video extracts taken from amateur videos recording sound tests of car exhaust pipe. These cars are shot as they are without tuning. Amongst the footage of car exhaust pipes, the artist includes a model called "Bertocchi Mufflers". This pseudo-biographical element is revealed through a completely useless and self-referential action which is a recurring aspect of the artist's work. The roar of an engine, as a polluting and rather expensive action, refers to the dissipation of energy and to its existential dimension.

Rats is a new work by artist Robert Lazzarini. The installation presents us with a sparsely lit quasi-apartment space. Referencing one of the most common phobias, musophobia (fear of mice and rats), Rats situates itself between formal mediation and physical response. It combines stereotypical notions of rats - disease, plague, fear - with perceptual dislocation.

For the last week of Pandora's Sound Box, White Box is please to host an exclusive impromptu event by Olaf Breuning in WHITE BOX PROJECTS space.

This exhibition has been made possible through the generous support of Deweer Gallery, Galerie Pamme-Vogelsang, Galeria Fortes Vilaca, Alexander Bonin Gallery, Federico Luger, Premio Terna, COMA and Cultural Services of the French Embassy. Special thanks to Assistant Curator Julija Cistiakova, Jee Won Kim and Tae Hyung Park of Jee Won Kim Architect / GI Design Studio, Riad Miah / Parsons, White Box Interns: Jennifer Soh and Zenas Hutchinson.