Breathing Staircases

Conceived with the collective One&Seven, the Breathing Staircases is the first site-specific installation created for MEET Digital Culture Center’s Living  Staircases.

An immersive video and audio intervention across the multistorey surfaces of this particular architectural space of the building, it was on view from October 12, 2022-Jan 8, 2023. It has been re-actualized for MuseoCity, Milano, March 3-5, 2023.

Designed by architect Carlo Ratti to “explore the meaning of physical space in a digital world”, the stairs are a vibrant vertical core connecting exhibition and office spaces. Through a simultaneous 7-channel multi-projection with audio, they are transformed into a pulsating body through the layering of images conditioned and animated by the sound of voices and breath of the artists.

This architectural space is seen as a multi-sensory and dynamic living organism, intimate and personal: the place of participatory response to a collective exchange reflecting art, poetry and life. Visitors experience the meditative fruition of the primordial condition of breath through their personal and emotional involvement in an immersive place of vision and listening through an ever-changing and inclusive movement: the expression of the “Singular and Collective Universe” of which all who access it become an active and conscious part.

 

One&Seven collective includes: multimedia artists Silvio Wolf and Lisa di Donato, photographer James Weber, sculptor Leah Poller, artists Farah Marie Velten and Judith Lipton, and photographer / social activist Rick Raymond

 

The installation has been achieved through the generous support of MEET Digital Culture Center, in partnership with IED Milano and School of Visual Arts, New York.

With the collaboration of:
– Davide Sgalippa: Co-Chair with Rossella Bertolazzi of the School of Visual Arts at IED Milan; Professor at IED Milan and the Academy of Fine Arts in Palermo; exhibition and multimedia  Media designer at TheBuss team
– Marco Ferrari: Digital Designer; video and audio designer at IED Milan
– Solian Clerici: Exhibition and Light Designer at IED Milan and TheBuss team
– Epson: Technical Sponsor

 

Press Release

Sala Zero

The installation Sala Zero. The Invisible Everyday intends to subvert the order of the everyday’s experince, offering the possibility to perceive and welcome what has become invisible to our senses because it is so close, immersed in the sphere of the everyday, the banal and the ‘ordinary’. Not the search for what is beyond the visible, but rather pertains to a removed perception of which we are not aware, stimulating the observation in the closest place of our life: the home environment.

A large scale photographic wall-library divides in two parts the first room of the exhibition Seeing the Invisible. Looking through the openings created by the missing books, the visitors discover and become participants in an unexpected gravitation of celestial bodies: the ‘meteorites of everyday life’, an incessant flow of elements of quotidian life in the form of an unexpected ‘present elsewhere’, which appears in the semblance of the infinitely near and the infinitely far, of the great and the small: what is absolutely, invisibly, extraordinarily close to us.

This first room of the exhibition, which gives access to the most advanced scientific and technological research around cells, electrons and molecular models, subatomic forces and particles, microscopy and nanometry, planets, stars, gravitational waves and the universe, is a space of transition and passage, while at the same time of meditation, vision and listening: a place of awareness.

 

Title: Room Zero. The Invisible Everyday
Year: 2022
Technique: Blurred wall-size photo enlargement, 3 channel video installation, 4 channel acoustic diffusion in the double architectural space.

 

The following collaborated in the realization of this project:
Tiziano Crotti: Composition, sound design and processing.
Marco Ferrari: Digital design and video composition.

 

Press Release

Chantier Marché

Les traces d’un chantier du XX siècle sont mises au jour dans les souterrains creusés à côté de la crypte archéologique chrétienne de la place Saint Lambert à Liège,

Là où était prévu le passage des transports publics vers la gare routière souterraine, apparaissent des images lumineuses qui témoignent des origines du lieu. Des fragments d’architecture, des matériaux et des épaves de construction sont rendus visibles par une série d’empreintes virtuelles projetées sur la paroi latérale laissée à l’état brut. Ce lieu enfoui révèle ainsi le secret de son propre passé.

Le chantier de la mémoire, immobile, est envahi par les multiples sons et voix du Marché Batte, le marché animé de Liège, véritable âme et coeur de la ville.

La vie pénètre dans les entrailles, le son relie l’extérieur à l’intérieur, la rue au musée, le passé au présent. Dans cette crypte enchantée se cultive le jardin immatériel du temps.

Silvio Wolf, 1999

Light House

La Casa delle Parole
Metafore della Luce
Generano Scritture
dal Corpo dell’Architettura

1) IL FARO

Un fascio di luce ruota a 360∞
Il movimento circolare investe le pareti adiacenti
proiettando su di esse immagini prospettiche.
La struttura dell’edificio smaterializzata
È ricostruita virtualmente dal processo fotografico.
La luce riforma lo spazio fisico
creando un nuovo codice verbale.

Materia architettonica si fa scrittura
attraverso diamanti di luce e pietra.

2)  LE TAVOLE

Una scrittura naturale
si sedimenta sulle erose pietre
della Legge mosaica.
Leggi morali e Leggi naturali
vengono virtualmente trascritte
su un oggetto fotografico tridimensionale.
Come un relitto temporale
la doppia scrittura si orienta
nello Spazio delle Parole di Luce.

Braille Stars

Commissioned by the non-profit Milano Arte Estetica as part of a series of site-specific installations organized in conjunction with a conference on art and philosophy, Wolf created Stella Braille to reflect upon the relationship between verbal, visual and auditory language. He projected macro reproductions of the Braille alphabet onto four walls of an abandoned industrial space while overlaying two recorded sound diffusions of recited words. Visitors saw the images of Braille, heard the repeated words and became integrated into the piece itself as the light projections cast their shadows onto the surrounding walls. By transforming the tactile language of Braille into a language of light, Wolf gave viewers the opportunity to be immersed in a new visual code.

Rebecca Pristoop

Laboratorio

Oggi

L’installazione site-specific OGGI è composta da:

1)    Una diffusione sonora randomizzata di frammenti di voci estratti dalle interviste. Queste voci provengono dai quattro lati della sala oscurata e la pervadono con la presenza di 7 oratori virtuali.

2)    Una proiezione fotografica fissa sullo schermo cinematografico che rappresenta simbolicamente la presenza dell’artista nella sala. Sono 24 volti dell’artista che appaiono disseminati sul grande schermo. Chi entra e siede nella sala (dove viene accompagnato da una maschera con la torcia elettrica in mano), si confronta coi volti proiettati ed è circondato dalla presenza delle voci che a volte appaiono singolarmente, a volte si sovrappongono in modo casuale per creare il senso di una presenza umana diffusa.

3)    L’ingresso e la sala d’aspetto del cinema nel quale sono affisse nelle bacheche una serie di frammenti scritti dei testi udibili in sala, estrapolati per il valore simbolico delle loro parole.

The Observance

Site-specific installation, fixed slide-projections on exterior building walls Ex-psychiatric Hospital, Imola, Italy

Projected on the exterior walls of a former internment hospital for the mentally ill, Wolf’s L’Osservanza, titled after the name of the sanatorium itself, consisted of slide images of patients formerly confined to the asylum, as well as phrases shared with the artist by current patients in the modernized therapeutic institution. A commissioned project by the hospital, Wolf lived within the institution for three days. While there, he established a verbal dialogue and relationship with the patients to understand their lives and points of view as inmates within a complex who were no longer secluded behind an impenetrable wall, but who’s everyday lives were still not integrated into the outside world. Sentences recorded from the patients and projected onto the buildings read:

Cercasi amico sincero / Looking for a sincere friend
Il castello di sabbia / The sand castle
La città proibita / The forbidden city
Basta assumere sembianze / It is sufficient to assume the likeness
La malattia del vento / The disease of the wind
Lasciati portare dalla vita / Let yourself be taken by the wind 

Rebecca Pristoop 

Grida dal Tempio

The monumental Milan Stock Exchange Market building from the ’30 is no longer in use. Nowdays it is a perfectly restored and turned into a silent office building which has lost its original identity, in spite of its history and location in the business centre of Milan.

The photograph of the white marble facade is projected at night in a 1:1 scale and in register with the real architecture but out blurred and skewed, so that the building appears like a vanishing monument. The projection makes the building visible at night dematerializing its massive architecture: a ghost building in the context of the business centre. The recorded voices of the stockbrokers from the no longer existing market are diffused in the square. Their sound recalls the immaterial presence of a vanished time.