concept, film, editing SALVATORE INSANA
with ELISA TURCO LIVERI
music GIULIA VISMARA
produced by DEHORS/AUDELA
with the support of WUNDERKAMMER ASSOCIAZIONE CULTURALE
Crocevia (Crossroads) is always being on the verge of … about to … choose something, one road or another, a succession of tiny incessant tremors that prevent stagnation.
Crocevia is an audio-visual rebus complete with cancellations, details and missing elements. A space to conceive. An event to rebuild. Only virtual can be high-definition, not imperfect and ambiguous reality. A crossroads of memory, of its opaque (non)reproducibility. A turning point, the point for making a decision. Or lose the chance forever. Every crossroads gives rise to temporizing, inner debates between one part and another, between one direction and its opposite. Every choice misleads your path. Which direction should you lose?
Can the process of production and reproduction gradually engulf the body captured in the images? By later revisiting and reproducing these images, from mold to mold, can we succeed in amplifying – through removal – the meaning the image bears?
The space of the images is expanded by the sounds. These sounds, belonging to memories, move everywhere without taking a precise position, they are organized following the idea of perpetual indecision suggested by the video. The sounds become the object of thought of the figure dressed in blue and therefore do not find a perfect place, they move continuously, sometimes are close, sometimes are out of focus, sometimes they spread out in space to form a bigger soundscape. The sound material comes from the re-elaboration of recordings made with dpa microphones within beehives in Florida and other field recordings collected over the past few years.
SALVATORE INSANA attended the University of Roma Tre Dams concluding his studies in 2010 with a paper on the concept of Useless.
With Elisa Turco Liveri, actress and performer he has created in 2011 the company Dehors/Audela, in collaboration with the lighting designer Giovanna Bellini, and the sound artist Giulia Vismara, and in the constant attempt to overcome genres, places and “deputies tools”, producing video- theatrical works, audiovisual projects, site specific installations and photographic investigation, experimental workshops.
He continued his research in motion pictures, photography and other media forms collaborating with the filmmaker Roberto Nanni, with Atelier Meta-Teatro, historic space of theatrical research directed by Pippo Di Marca, with SLIM art label, with the experimental group Villanuccia- Lyriks,interested in moving bodies in their elusiveness, in their metamorphic and tragic ability to elude us, interested to probe deeper on the limits of vision, on the “visual spectra.”
He has worked in visual search paths with several musicians and sound artists as Jacob Kirkegaard, Aron Carlocchia, Girolamo Deraco, Simone Pappalardo, Francesca Sortino, The Additive, Frank Heierli, Tobias Faar, Ynaktera, Playing with Nuns, Leira Kabuki, Nino Martino, Santiago Merino and with the label Brusionetlabel, and his videoworks has been screened at several festivals around the world (Arte Video Roma Festival, DotFest, Traverse-Video, Vafa Macao, Image contre Nature, Niff – Naoussa, Videholica, 9hundred project, Current Santa Fe, Fiva Buenos Aires, WestVirginiaShortFilmFestival, Signes De Nuit, LuccaFilmFestival, MidenFestival).
Salvatore Insana is one of the authors invited to be part of the project 100×100 = 900 (100 videoartist to tell a century), and is part of the catalog of Visual Container, italian videoart platform; Carma, arts and multimedia research center; Nomadica, autonomous center for film research, P’silo, video library of the festival Image contre Nature, Souvenir from Earth, the first cable tv station dedicated to contemporary art, avaible in france and germany, Arte alter ‘collection, online collection curated by kaosart, avilés, spain, Tao films – the art of slow cinema video on demand;
On the way of useless as “non membership” to the idea of art as a social commitment, I’ve carried out and I’m continuing my research in motion pictures, photography and other forms of audit and erosion of the imagination, struggling on the threshold between visual lyricism, dissolution of the more didactic horizon of codes and events and linguistic structures recombination. I’m generously convinced of the need for an expanded view of making art – research rather than creation, investigation on the present rather than pursuit of wonder. Not only specialization but open to that which presses on the sides of officialdom, in the right-duty to go for entertainment and comforting, to look quite a gap, an alteration of this, to quote Artaud, “in an attempt which the minds of some people play all out.