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EVERYWHERE NOWHERE BY MARCELLO MAZZELLA
EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no longer necessary. Marcello Mazzella does not need to situate his work in any place or gallery. As it's said in America, the works are "just a few clicks away." After a few elementary commands to a computer the works are immediately available to anybody - from the North Pole to Australia. The needed key on the Internet is the command http://www.marcello.mazzella.info Alas, let's not forget that the images suffer from the familiar limitations: a short wait, modest dimensions and definition dictated by the computer's screen or modem. It should be no surprise that large-format images--digital, first printed photographically, are far more gratifying to the eye. In the digital arena, manipulation and elaborations create "electronic meta-landscapes of human body fragment transformed in artificial paradises" says Mazzella. Nevertheless nature still dominates, luckily. In this pantheistic universe, human beings keep playing major roles. Marcello Mazzella is a multimedia artist. "Multimedia language is just at its beginning," is the opening line of an essay by the critic Tommaso Trini in a catalogue of Mazzella's work. For this writer, the term may have insulting undertones, as "an egg-making artist." Mazzella has a distinguished production: sculpture, photography, dance, theatre, video and digital works. Confusion of tongues? For the perplexed or confused, we suggest to question theoreticians such as Peter Weibel or Derrick De Kerckhove. Or to listen to the Italian singer Carmen Consoli belting "Confusa e Felice." Mazzella himself declares that "our daily reality is increasingly confused and difficult to understand. Where is the distinction between what is true or false?" Willingly, Mazzella displays constant contrast and unbalance between Natural and Artificial; always clashing and never reduced to coincide. Artificiality is stalked in order to exorcise it; nature is nostalgia of lost paradises that in our frenzied running we have passed and left behind. Duality is a life choice to face at every step. In various images, Mazzella repeats the theme of human skin, the one we love and caress. We long for "a natural skin covering material flesh." We may have anything in cyberspace. But not our own flesh. More often, it is a daily reality. Artificial bones in titanium or magnesium, mechanical hearts (already old), bio-engineering, clonations, implants and transplants. As a close friend of Mazzella, I never asked him what he thinks of William Gibson. And I have avoided to ask his opinion about a French woman artist who has repeatedly endured plastic surgeries with the result of increasing ugliness. Idle questions. In "Elicon Silicon", created in 1994 with Claudio Prati and the group "Avventure in Elicottero" with choreographer Ariella Vidach, sex and language are bypassed. Three women, looking like mannequins fly through metaphysical and artificial landscapes. Some messages inform us that "Women trapped in male bodies search for female companions." Among transgressions there are also androginy and transexuality. If one must/wants to abandon the physical body why not get rid of sexual gender altogether? Conversely, one thinks of the project by the photographers Inez Van Lamsweerde and Vinoodh Matidin, with the designer Veronique Leroy, seen in Artforum (February 1996). Extremely attractive young women, with very long limbs and faces, were simply too much to be real. Indeed, they were totally synthetic. Drawn by computer. From silicone enhanced beauties to silicium women. At least, the latter don't have to fear in-flight explosions as the one suffered by the enhancements of an Italian actress in an airplane. Few are the great artists who in this century have trespassed expressive forms and media should not be named in vain. They did it not for the sake of transgression or to overstep boundaries but because they needed a larger field of action, beyond the conventions of the past. Multimedia: Natura Non Fecit Saltus, we used to believe. Many confront contradictions in the same mined path chosen by Marcello Mazzella. Simulation, with its diabolical simulacra is at the center of his investigation. Another example is evident in some earlier work: odd-looking blots that, when seen in a cylindrical mirror reveal conventional images, the well-known anamorphic images. Soon, human beings will push to explore --at an ant's pace-- interplanetary spaces. The negation of the human body is the dream of mystics and hermits, who pursued only the affirmation of the spirit. Mazzella stresses that "the human body is no longer confined in a small, restricted space, but it has become a kind of 'planetary body,' with no more limits." With exemplary engagement, he keeps pushing forward. An example to follow... Gianfranco Mantegna New York City, 1998
Gift books: Sun-Times staff photographers review photography - Chicago Sun-Times
Masters of Photography - Sebastião Salgado
Photography © Sebastião Salgado /Amazonas Images http://www.terra.com.br/sebastiaosalgado/ http://amazonasimages.com/ Portrait, 1997 © Pierre - Olivier Deschamps http://www.pierreolivierdeschamps.com/POD/Intro.html ---------- http://en.wikipedia.org/wiki/Sebastiao_Salgado Sebastião Salgado (born February 8, 1944 in Aimorés, Minas Gerais, Brazil) is a Brazilian documentary photographer and photojournalist. After a somewhat itinerant childhood, Salgado initially trained as an economist, earning a master's degree in economics from the University of São Paulo in Brazil. He began work as an economist for the International Coffee Organization, often traveling to Africa on missions for the World Bank, when he first started seriously taking photographs. He chose to abandon a career as an economist and switched to photography in 1973, working initially on news assignments before veering more towards documentary-type work. Salgado initially worked with the Paris based agency Gamma, but in 1979 he joined the international cooperative of photographers Magnum Photos. He left Magnum in 1994 and formed his own agency, Amazonas Images, in Paris to represent his work. He is particularly noted for his documentary photography of workers in less developed nations. Longtime gallery director Hal Gould considers Salgado to be the most important photographer of the early 21st century, and gave him his first show in the United States. Salgado works on long term, self assigned projects many of which have been published as books: The Other Americas, Sahel, Workers, and Migrations. The latter two are mammoth collections with hundreds of images each from all around the world. His most famous pictures are of a gold mine in Brazil called Serra Pelada. It was early 2001 in Somalia, when Sebastião Salgado began documenting the global effort to eradicate the crippling disease poliomyelitis: http://www.endofpolio.org/home.html He is presently working on a project called Genesis photographing the landscape, flora and fauna of places on earth that have not been taken over by man. Most recently, Salgado has displayed in September and October 2007 his pictures of Coffee workers from India, Guatemala, Ethiopia and Brazil at the Brazilian Embassy in London. The aim of the project was to raise public awareness of the origins of the popular drink. (illycaffé): http://www.illy.com/wps/wcm/connect/us/illy/art/sebastiao-salgado/ ----------------- Please, visit the following sites: http://www.terra.com.br/sebastiaosalgado/ http://amazonasimages.com/ http://amazonasimages.com/aboutsalg.html http://www.masters-of-photography.com/S/salgado/salgado.html http://www.magazinedigital.com/reportajes/sebastiao_salgado/reportaje/cnt_id/1281/pageID/1 http://estatico.magazinedigital.com/genesis/magazine.html http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article2386139.ece http://www.illy.com/wps/wcm/connect/us/illy/art/sebastiao-salgado/ http://www.nytimes.com/specials/salgado/home/ http://www.time.com/time/daily/special/photo/salgado/ http://www.luminous-lint.com/app/photographer/Sebastiao__Salgado/C/ http://news.bbc.co.uk/1/shared/spl/hi/pop_ups/07/world_sebastiao_salgado0s_genesis/html/1.stm http://www.guardian.co.uk/artanddesign/2004/sep/11/sebastiaosalgado.photography http://arts.guardian.co.uk/salgado/image/0,,2077763,00.html http://www.unicef.org/salgado/ http://www.telegraph.co.uk/core/Slideshow/slideshowContentFrameFragXL.jhtml?xml=/earth/news_galleries/salgado/salgado.xml&site=Earth http://www.rollingstone.com/photos/gallery/16793923/the_hidden_tribes_of_the_amazon http://www.hackelbury.co.uk/artists/salgado/genesis.html http://www.hackelbury.co.uk/artists/salgado/salgado.html http://www.hackelbury.co.uk/artists/salgado/salgado_sm.html http://www.endofpolio.org/home.html http://photoquotes.com/ShowQuotes.aspx?id=496&name=Salgado,Sebastiao http://www.law.qmul.ac.uk/pirch/PLAYGROUND/sebastiao.htm
Annual book gift guide includes works by James Patterson, Anne ... - The Grand Rapids Press - MLive.com
Gift books: Sun-Times staff photographers review photography ...
In the opening essay, John Lahr declares Avedon's collaboration with his subjects was itself a performance. "By staging them in front of a white cyclorama, with no context but the landscape of their body -- the drama of face, ...
Cleveland Museum Announces Significant Additions To Celebrated ... - HULIQ
TH - Feature Stories Article
Gary Fagan, of Dubuque, is a John Deere retiree who specializes in landscape photography:. Shoot through the snow; don't wait for it to stop. It becomes like a painting. You can see the snowflakes in the picture. ...
Developing the desert: At what cost to Mojave? - Las Vegas Sun
EVERYWHERE NOWHERE BY MARCELLO MAZZELLA
EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no longer necessary. Marcello Mazzella does not need to situate his work in any place or gallery. As it's said in America, the works are "just a few clicks away." After a few elementary commands to a computer the works are immediately available to anybody - from the North Pole to Australia. The needed key on the Internet is the command http://www.marcello.mazzella.info Alas, let's not forget that the images suffer from the familiar limitations: a short wait, modest dimensions and definition dictated by the computer's screen or modem. It should be no surprise that large-format images--digital, first printed photographically, are far more gratifying to the eye. In the digital arena, manipulation and elaborations create "electronic meta-landscapes of human body fragment transformed in artificial paradises" says Mazzella. Nevertheless nature still dominates, luckily. In this pantheistic universe, human beings keep playing major roles. Marcello Mazzella is a multimedia artist. "Multimedia language is just at its beginning," is the opening line of an essay by the critic Tommaso Trini in a catalogue of Mazzella's work. For this writer, the term may have insulting undertones, as "an egg-making artist." Mazzella has a distinguished production: sculpture, photography, dance, theatre, video and digital works. Confusion of tongues? For the perplexed or confused, we suggest to question theoreticians such as Peter Weibel or Derrick De Kerckhove. Or to listen to the Italian singer Carmen Consoli belting "Confusa e Felice." Mazzella himself declares that "our daily reality is increasingly confused and difficult to understand. Where is the distinction between what is true or false?" Willingly, Mazzella displays constant contrast and unbalance between Natural and Artificial; always clashing and never reduced to coincide. Artificiality is stalked in order to exorcise it; nature is nostalgia of lost paradises that in our frenzied running we have passed and left behind. Duality is a life choice to face at every step. In various images, Mazzella repeats the theme of human skin, the one we love and caress. We long for "a natural skin covering material flesh." We may have anything in cyberspace. But not our own flesh. More often, it is a daily reality. Artificial bones in titanium or magnesium, mechanical hearts (already old), bio-engineering, clonations, implants and transplants. As a close friend of Mazzella, I never asked him what he thinks of William Gibson. And I have avoided to ask his opinion about a French woman artist who has repeatedly endured plastic surgeries with the result of increasing ugliness. Idle questions. In "Elicon Silicon", created in 1994 with Claudio Prati and the group "Avventure in Elicottero" with choreographer Ariella Vidach, sex and language are bypassed. Three women, looking like mannequins fly through metaphysical and artificial landscapes. Some messages inform us that "Women trapped in male bodies search for female companions." Among transgressions there are also androginy and transexuality. If one must/wants to abandon the physical body why not get rid of sexual gender altogether? Conversely, one thinks of the project by the photographers Inez Van Lamsweerde and Vinoodh Matidin, with the designer Veronique Leroy, seen in Artforum (February 1996). Extremely attractive young women, with very long limbs and faces, were simply too much to be real. Indeed, they were totally synthetic. Drawn by computer. From silicone enhanced beauties to silicium women. At least, the latter don't have to fear in-flight explosions as the one suffered by the enhancements of an Italian actress in an airplane. Few are the great artists who in this century have trespassed expressive forms and media should not be named in vain. They did it not for the sake of transgression or to overstep boundaries but because they needed a larger field of action, beyond the conventions of the past. Multimedia: Natura Non Fecit Saltus, we used to believe. Many confront contradictions in the same mined path chosen by Marcello Mazzella. Simulation, with its diabolical simulacra is at the center of his investigation. Another example is evident in some earlier work: odd-looking blots that, when seen in a cylindrical mirror reveal conventional images, the well-known anamorphic images. Soon, human beings will push to explore --at an ant's pace-- interplanetary spaces. The negation of the human body is the dream of mystics and hermits, who pursued only the affirmation of the spirit. Mazzella stresses that "the human body is no longer confined in a small, restricted space, but it has become a kind of 'planetary body,' with no more limits." With exemplary engagement, he keeps pushing forward. An example to follow... Gianfranco Mantegna New York City, 1998
Wolfgang Tillmans at Regen Projects - Los Angeles Times
EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no longer necessary. Marcello Mazzella does not need to situate his work in any place or gallery. As it's said in America, the works are "just a few clicks away." After a few elementary commands to a computer the works are immediately available to anybody - from the North Pole to Australia. The needed key on the Internet is the command http://www.marcello.mazzella.info Alas, let's not forget that the images suffer from the familiar limitations: a short wait, modest dimensions and definition dictated by the computer's screen or modem. It should be no surprise that large-format images--digital, first printed photographically, are far more gratifying to the eye. In the digital arena, manipulation and elaborations create "electronic meta-landscapes of human body fragment transformed in artificial paradises" says Mazzella. Nevertheless nature still dominates, luckily. In this pantheistic universe, human beings keep playing major roles. Marcello Mazzella is a multimedia artist. "Multimedia language is just at its beginning," is the opening line of an essay by the critic Tommaso Trini in a catalogue of Mazzella's work. For this writer, the term may have insulting undertones, as "an egg-making artist." Mazzella has a distinguished production: sculpture, photography, dance, theatre, video and digital works. Confusion of tongues? For the perplexed or confused, we suggest to question theoreticians such as Peter Weibel or Derrick De Kerckhove. Or to listen to the Italian singer Carmen Consoli belting "Confusa e Felice." Mazzella himself declares that "our daily reality is increasingly confused and difficult to understand. Where is the distinction between what is true or false?" Willingly, Mazzella displays constant contrast and unbalance between Natural and Artificial; always clashing and never reduced to coincide. Artificiality is stalked in order to exorcise it; nature is nostalgia of lost paradises that in our frenzied running we have passed and left behind. Duality is a life choice to face at every step. In various images, Mazzella repeats the theme of human skin, the one we love and caress. We long for "a natural skin covering material flesh." We may have anything in cyberspace. But not our own flesh. More often, it is a daily reality. Artificial bones in titanium or magnesium, mechanical hearts (already old), bio-engineering, clonations, implants and transplants. As a close friend of Mazzella, I never asked him what he thinks of William Gibson. And I have avoided to ask his opinion about a French woman artist who has repeatedly endured plastic surgeries with the result of increasing ugliness. Idle questions. In "Elicon Silicon", created in 1994 with Claudio Prati and the group "Avventure in Elicottero" with choreographer Ariella Vidach, sex and language are bypassed. Three women, looking like mannequins fly through metaphysical and artificial landscapes. Some messages inform us that "Women trapped in male bodies search for female companions." Among transgressions there are also androginy and transexuality. If one must/wants to abandon the physical body why not get rid of sexual gender altogether? Conversely, one thinks of the project by the photographers Inez Van Lamsweerde and Vinoodh Matidin, with the designer Veronique Leroy, seen in Artforum (February 1996). Extremely attractive young women, with very long limbs and faces, were simply too much to be real. Indeed, they were totally synthetic. Drawn by computer. From silicone enhanced beauties to silicium women. At least, the latter don't have to fear in-flight explosions as the one suffered by the enhancements of an Italian actress in an airplane. Few are the great artists who in this century have trespassed expressive forms and media should not be named in vain. They did it not for the sake of transgression or to overstep boundaries but because they needed a larger field of action, beyond the conventions of the past. Multimedia: Natura Non Fecit Saltus, we used to believe. Many confront contradictions in the same mined path chosen by Marcello Mazzella. Simulation, with its diabolical simulacra is at the center of his investigation. Another example is evident in some earlier work: odd-looking blots that, when seen in a cylindrical mirror reveal conventional images, the well-known anamorphic images. Soon, human beings will push to explore --at an ant's pace-- interplanetary spaces. The negation of the human body is the dream of mystics and hermits, who pursued only the affirmation of the spirit. Mazzella stresses that "the human body is no longer confined in a small, restricted space, but it has become a kind of 'planetary body,' with no more limits." With exemplary engagement, he keeps pushing forward. An example to follow... Gianfranco Mantegna New York City, 1998
Gift books: Sun-Times staff photographers review photography - Chicago Sun-Times
Gift books: Sun-Times staff photographers review photography Chicago Sun-Times, United States - In the opening essay, John Lahr declares Avedon's collaboration with his subjects was itself a performance. "By staging them in front of a white cyclorama, ... |
Masters of Photography - Sebastião Salgado
Photography © Sebastião Salgado /Amazonas Images http://www.terra.com.br/sebastiaosalgado/ http://amazonasimages.com/ Portrait, 1997 © Pierre - Olivier Deschamps http://www.pierreolivierdeschamps.com/POD/Intro.html ---------- http://en.wikipedia.org/wiki/Sebastiao_Salgado Sebastião Salgado (born February 8, 1944 in Aimorés, Minas Gerais, Brazil) is a Brazilian documentary photographer and photojournalist. After a somewhat itinerant childhood, Salgado initially trained as an economist, earning a master's degree in economics from the University of São Paulo in Brazil. He began work as an economist for the International Coffee Organization, often traveling to Africa on missions for the World Bank, when he first started seriously taking photographs. He chose to abandon a career as an economist and switched to photography in 1973, working initially on news assignments before veering more towards documentary-type work. Salgado initially worked with the Paris based agency Gamma, but in 1979 he joined the international cooperative of photographers Magnum Photos. He left Magnum in 1994 and formed his own agency, Amazonas Images, in Paris to represent his work. He is particularly noted for his documentary photography of workers in less developed nations. Longtime gallery director Hal Gould considers Salgado to be the most important photographer of the early 21st century, and gave him his first show in the United States. Salgado works on long term, self assigned projects many of which have been published as books: The Other Americas, Sahel, Workers, and Migrations. The latter two are mammoth collections with hundreds of images each from all around the world. His most famous pictures are of a gold mine in Brazil called Serra Pelada. It was early 2001 in Somalia, when Sebastião Salgado began documenting the global effort to eradicate the crippling disease poliomyelitis: http://www.endofpolio.org/home.html He is presently working on a project called Genesis photographing the landscape, flora and fauna of places on earth that have not been taken over by man. Most recently, Salgado has displayed in September and October 2007 his pictures of Coffee workers from India, Guatemala, Ethiopia and Brazil at the Brazilian Embassy in London. The aim of the project was to raise public awareness of the origins of the popular drink. (illycaffé): http://www.illy.com/wps/wcm/connect/us/illy/art/sebastiao-salgado/ ----------------- Please, visit the following sites: http://www.terra.com.br/sebastiaosalgado/ http://amazonasimages.com/ http://amazonasimages.com/aboutsalg.html http://www.masters-of-photography.com/S/salgado/salgado.html http://www.magazinedigital.com/reportajes/sebastiao_salgado/reportaje/cnt_id/1281/pageID/1 http://estatico.magazinedigital.com/genesis/magazine.html http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article2386139.ece http://www.illy.com/wps/wcm/connect/us/illy/art/sebastiao-salgado/ http://www.nytimes.com/specials/salgado/home/ http://www.time.com/time/daily/special/photo/salgado/ http://www.luminous-lint.com/app/photographer/Sebastiao__Salgado/C/ http://news.bbc.co.uk/1/shared/spl/hi/pop_ups/07/world_sebastiao_salgado0s_genesis/html/1.stm http://www.guardian.co.uk/artanddesign/2004/sep/11/sebastiaosalgado.photography http://arts.guardian.co.uk/salgado/image/0,,2077763,00.html http://www.unicef.org/salgado/ http://www.telegraph.co.uk/core/Slideshow/slideshowContentFrameFragXL.jhtml?xml=/earth/news_galleries/salgado/salgado.xml&site=Earth http://www.rollingstone.com/photos/gallery/16793923/the_hidden_tribes_of_the_amazon http://www.hackelbury.co.uk/artists/salgado/genesis.html http://www.hackelbury.co.uk/artists/salgado/salgado.html http://www.hackelbury.co.uk/artists/salgado/salgado_sm.html http://www.endofpolio.org/home.html http://photoquotes.com/ShowQuotes.aspx?id=496&name=Salgado,Sebastiao http://www.law.qmul.ac.uk/pirch/PLAYGROUND/sebastiao.htm
Annual book gift guide includes works by James Patterson, Anne ... - The Grand Rapids Press - MLive.com
 The Grand Rapids Press - MLive.com | Annual book gift guide includes works by James Patterson, Anne ... The Grand Rapids Press - MLive.com, MI - Essays by writers such as Frank DeFord and John Ed Bradley add depth to this collection of glorious photos of greatest plays, people and moments in college ... |
Gift books: Sun-Times staff photographers review photography ...
In the opening essay, John Lahr declares Avedon's collaboration with his subjects was itself a performance. "By staging them in front of a white cyclorama, with no context but the landscape of their body -- the drama of face, ...
Cleveland Museum Announces Significant Additions To Celebrated ... - HULIQ
Cleveland Museum Announces Significant Additions To Celebrated ... HULIQ, NC - Mounted in the same scroll are 13 colophons – dedicatory poems or essays – written by members of Gong’s poetry society, some of whom were eminent figures of ... |
TH - Feature Stories Article
Gary Fagan, of Dubuque, is a John Deere retiree who specializes in landscape photography:. Shoot through the snow; don't wait for it to stop. It becomes like a painting. You can see the snowflakes in the picture. ...
Developing the desert: At what cost to Mojave? - Las Vegas Sun
 Las Vegas Sun | Developing the desert: At what cost to Mojave? Las Vegas Sun, NV - Released this year by Jovis Verlag, a Berlin publishing house that specializes in art, architecture, photography and design, “Urbanizing†is not so much ... |
EVERYWHERE NOWHERE BY MARCELLO MAZZELLA
EVERYWHERE AND NOWHERE: MAZZELLA'S ADVENTURES The need for physical presence is abolished - no longer necessary. Marcello Mazzella does not need to situate his work in any place or gallery. As it's said in America, the works are "just a few clicks away." After a few elementary commands to a computer the works are immediately available to anybody - from the North Pole to Australia. The needed key on the Internet is the command http://www.marcello.mazzella.info Alas, let's not forget that the images suffer from the familiar limitations: a short wait, modest dimensions and definition dictated by the computer's screen or modem. It should be no surprise that large-format images--digital, first printed photographically, are far more gratifying to the eye. In the digital arena, manipulation and elaborations create "electronic meta-landscapes of human body fragment transformed in artificial paradises" says Mazzella. Nevertheless nature still dominates, luckily. In this pantheistic universe, human beings keep playing major roles. Marcello Mazzella is a multimedia artist. "Multimedia language is just at its beginning," is the opening line of an essay by the critic Tommaso Trini in a catalogue of Mazzella's work. For this writer, the term may have insulting undertones, as "an egg-making artist." Mazzella has a distinguished production: sculpture, photography, dance, theatre, video and digital works. Confusion of tongues? For the perplexed or confused, we suggest to question theoreticians such as Peter Weibel or Derrick De Kerckhove. Or to listen to the Italian singer Carmen Consoli belting "Confusa e Felice." Mazzella himself declares that "our daily reality is increasingly confused and difficult to understand. Where is the distinction between what is true or false?" Willingly, Mazzella displays constant contrast and unbalance between Natural and Artificial; always clashing and never reduced to coincide. Artificiality is stalked in order to exorcise it; nature is nostalgia of lost paradises that in our frenzied running we have passed and left behind. Duality is a life choice to face at every step. In various images, Mazzella repeats the theme of human skin, the one we love and caress. We long for "a natural skin covering material flesh." We may have anything in cyberspace. But not our own flesh. More often, it is a daily reality. Artificial bones in titanium or magnesium, mechanical hearts (already old), bio-engineering, clonations, implants and transplants. As a close friend of Mazzella, I never asked him what he thinks of William Gibson. And I have avoided to ask his opinion about a French woman artist who has repeatedly endured plastic surgeries with the result of increasing ugliness. Idle questions. In "Elicon Silicon", created in 1994 with Claudio Prati and the group "Avventure in Elicottero" with choreographer Ariella Vidach, sex and language are bypassed. Three women, looking like mannequins fly through metaphysical and artificial landscapes. Some messages inform us that "Women trapped in male bodies search for female companions." Among transgressions there are also androginy and transexuality. If one must/wants to abandon the physical body why not get rid of sexual gender altogether? Conversely, one thinks of the project by the photographers Inez Van Lamsweerde and Vinoodh Matidin, with the designer Veronique Leroy, seen in Artforum (February 1996). Extremely attractive young women, with very long limbs and faces, were simply too much to be real. Indeed, they were totally synthetic. Drawn by computer. From silicone enhanced beauties to silicium women. At least, the latter don't have to fear in-flight explosions as the one suffered by the enhancements of an Italian actress in an airplane. Few are the great artists who in this century have trespassed expressive forms and media should not be named in vain. They did it not for the sake of transgression or to overstep boundaries but because they needed a larger field of action, beyond the conventions of the past. Multimedia: Natura Non Fecit Saltus, we used to believe. Many confront contradictions in the same mined path chosen by Marcello Mazzella. Simulation, with its diabolical simulacra is at the center of his investigation. Another example is evident in some earlier work: odd-looking blots that, when seen in a cylindrical mirror reveal conventional images, the well-known anamorphic images. Soon, human beings will push to explore --at an ant's pace-- interplanetary spaces. The negation of the human body is the dream of mystics and hermits, who pursued only the affirmation of the spirit. Mazzella stresses that "the human body is no longer confined in a small, restricted space, but it has become a kind of 'planetary body,' with no more limits." With exemplary engagement, he keeps pushing forward. An example to follow... Gianfranco Mantegna New York City, 1998
Wolfgang Tillmans at Regen Projects - Los Angeles Times
 Los Angeles Times | Wolfgang Tillmans at Regen Projects Los Angeles Times, CA - Though grounded in photography, his work assumes myriad forms and explores a near schizophrenic array of genres: snapshot, documentary, portrait, landscape, ... |