arte (pieces) /////////////////
/ no video / about the – linguistic? – codability of the gesture (there are apparently more signs than meanings) / 2003
CODED, embroidery photography, 2003
The gesture intended as an issue of instant (of interruption, of break); the gesture as destiny.
Between picture and text: gesture as speech disorder.
The gesture is the infinitive of a message.
The figure as code.
The gesture of advertisement.
Philosophy and Gender.
Masquerade and Coquetry.
CODED reveals something about the gesture as far as it designs it as a lie. The imagination of a false gesture, which is designed at purpose as something that will not work, refers in a way to Giorgio Agamben’s diagnosis of loss of gesture: negation as indication of being missing.
from left to right: Nonpareille, 1976 by VALIE EXPORT; CODED #1-2-3, 2003 by susanna schoenberg.
setting, staging, installation, panorama photography, 2003
Movies made of gestures instead of pictures
Cinema is bringing pictures home to the land of gestures
About the four dimensions of narration
About simultaneity
Drama as performance
Tableau vivant
setting is a concept made of parameters: spatial conditions between 5 stages, running time, but no story apart of the fixed simultaneities. The performers–4 women and 3 men– were forced to reflect for themselves about reality, and to use the artificial spontaneity of the gesture not for representation but “just” for presence.
setting, installation sketch, 2003.
panopticum, camera-projection-system, installation, database, 2003
Transferring gestures
Some notes about the reason why Flusser is wrong arguing that we do have to understand how we decode gestures.
Coding the reproducible gesture
Intuitive re-enactment
The mirror and panopticon
About the reason why Agamben isn’t so wrong arguing that the gesture is that what remains after having decoded and removed all the coded meanings.
