Silvia Casini

Articolo pubblicato su DIGIMAG numero 46 2009

Un fotografo cineasta, Raymond Depardon, a cavallo tra documentario e fiction, vincitore del premio Pulitzer e autore di numerosi reportage in paesi come Biafra, Ciad, Venezuela, conosciuto anche per aver trascorso un periodo nel 1976 presso l’ex ospedale psichiatrico di San Servolo, a Venezia, gira nel 1996 una sorta di docu-fiction su un viaggio in Africa durato tre anni e sul mestiere stesso di film-maker. William Kentridge: nativo del Sud Africa, un artista la cui matrice espressiva è il disegno ma che spazia dalla scultura all’animazione all’installazione video, da sempre si interroga sulla dimensione sociale dell’arte e sulla responsabilità dell’artista.

Questo breve articolo non tenta una comparazione tra due artisti i cui linguaggi espressivi sono diversi, le cui biografie non si incontrano se non per il fatto di avere in comune Lei – l’Africa.

Quel che segue è un raffronto critico, un’esplorazione di due sguardi, quello di Depardon e quello di Kentridge, due artisti accostati non tanto perché ritraggono l’Africa, ma perché l’estetica del loro sguardo è simile.

Per leggere il resto dell’articolo, clicca qui:

http://www.digicult.it/archivio/digimag46/

I have recently started to collaborate with the association Digicult, Milan (Italy) and wrote two articles for their magazine DigiMag specialised in Digital and New Media.

The two articles are:

• Science is Sexy: Felice Frankel (Published in June 2009)
• Marc Didou: Resonances (Published in April 2009)

Lunedì 22 giugno 2009, ore 17:00, Observa – Science in Society, Vicenza  (Italy)

Identità personale e brain scan tra scienza e società: quale ruolo per le arti visive?
(Personal Identity and Brain Scan between Science and Society: which Role for the Visual Arts?)

Weblink: http://www.observa.it/content.aspx?PAGE_SUPPORT=SEMINARI&LAN=ITA

In the framework of the annual Ecsite Conference (http://www.ecsite-conference.net/en/index.php?n=4), held in Milan 4-6 June 2009, Leonardo Museum, there were a number of sessions on art and and science crossings:

• Artscience: New Paradigm or Oxymoron?

What do science centres stand to gain by treating art not simply as “propaganda for science” but as a parallel form of enquiry? What risks are involved in developing artscience projects? How can artscience centres become a focus for a new kind of creative community?

• Art and Artist in the Science Centre: Why Not?

Appealing, inspiring, captivating, and above all, original. Don’t we all strive for these qualities in our science centre or museum? Then why do so few science centres and children’s museums involve artists in their exhibition  development and seem reluctant to merge artworks and educational exhibits?

Exhibition Acqua at Galleria Parentesi Studia (www.parentesi.it)

Water to taste not to Waste!

 Acqua non è soltanto l’arte che mostra l’acqua o parla dell’acqua, ma è soprattutto la prima iniziativa di una serie di eventi culturali di più ampio respiro che invitano a godere dell’acqua, a considerarla un diritto universale, un bene comune da non sprecare e un punto di vista alternativo per immaginare Vittorio Veneto.

Intersections
Manchester Metropolitan University, MIRIAD
2 – 4 April 2009

Crossings: Art, Medicine, Visual Culture

The Role of the Curator’s own Body in Art and Medicine Exhibiting Practices (Silvia Casini, Queen’s University)

Lecture and Seminar hold at University of Edinburgh, course on Culture and Criticism II: The Practice of Cultural Studies.

Title of the lecture:

Identities between Art and Science: Medical Imagery and the Visual Arts (Dr. Silvia Casini)

The neuroscientist Steven Rose claims that an instrument itself, e.g. a scientific tool, shapes, and sometimes reduces, the world it depicts and our perception of it. Thus, when we hold a hammer, everything will appear more or less as a nail (Rose, 2005). But what would happen if the same instrument were taken out of its original context and employed in an alternative way to its prescribed usage?

The existence of a relationship between art and science
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Review article of Bruce Isaacs’ book Toward a New Film Aesthetic (London: Continuum 2008). Parallax. 2009. Vol. 15., n° 1, pp. 126-129.

A chance to see the work of Marc Didou, internationally acclaimed French artist, exhibiting for the first time in the UK and Ireland. Didou’s dramatic layered sculptures, created using a cutting-edge medical imaging technology, Magnetic Resonance Imaging (MRI) along with anamorphic mirrors, surprise and intrigue the viewer.
In Didou’s sculptures, reflected images coexist with marble, bronze and wood. What you see as an abstract monolith suddenly reveals its other face. In this exhibition, curated by Silvia Casini, sculpture shows its lines of attraction with MRI and cinema. The particular use Didou makes of MRI represents a felicitous encounter between science and art, where MRI is set free from the scientific laboratory and made accessible to the public in the form of sculptures.
Preview: Friday 19th October from 5 to 7 pm.
Venue: The Naughton Gallery at Queen’s, Lanyon Building, Belfast, BT7 1NN
The exhibition continues until Saturday 1st December, Monday to Saturday from 11am to 4pm.

View the the exhibition catalogue (pdf, 1.8 Mb) and the video on the exhibition