With “Belligerent Eyes” Fondazione Prada, restlessly searching for new grounds of confrontation on cinema and visual languages, experiments with new forms of collaboration, analysis and research. “Belligerent Eyes” was born out the Fondazione’s will to create a reciprocally stimulating exchange with younger generations working in the realms of cinema and visual arts research and production, enabling them to work in complete autonomy and freedom. This new relationship has marked independence as the core of such an artistic collaboration, offering the Fondazione the opportunity to re-invent the expressions of its cultural commitment.
This project extends the research Fondazione Prada has sustained in the realm of cinema for more than a decade. Between 2003 and 2006 important collaborations with international institutions such as the Tribeca Film Festival and the Venice Film Festival were developed. In 2004 the groundbreaking program of the Tribeca Film Festival travelled outside the USA for the first time and audiences in Milan were offered the opportunity to attend the screenings of selected films from the festival, along with talks and Q&As with directors and actors. In the following years, a vast film restoration project was initiated in collaboration with the Venice Biennale, with the aim to rediscover forgotten or overlooked cinematographic heritage. From 2004 to 2005, during three editions of the Venice Film Festival, the retrospectives “Italian Kings of the Bs: The Secret History of Italian Cinema”, “The Secret History of Asian Cinema” and “The Secret History of Russian Cinema”, all curated by Marco Müller, were presented in Venice and subsequently travelled to Milan, London, New York, Melbourne and Tokyo. In addition to this, in the past years Fondazione Prada has realized special commissions by artists such as Steve McQueen and Tobias Rehberger, who have employed cinematographic imagery and languages to conceive exhibitions and site-specific projects.
With the opening of its new Milan venue in May 2015, Fondazione Prada has strengthened its commitment to this artistic discipline. The new Cinema building has hosted “Roman Polanski: My Inspirations”, a documentary-interview in which the film director retraced his creative path, accompanied by a selection of his own films as well as masterpieces from the past, and “Flesh, Mind and Spirit”, a festival comprising 15 films chosen by director Alejandro González Iñárritu, in collaboration with Elvis Mitchell, film critic and Curator at LACMA in Los Angeles. Director Wes Anderson, on the other hand, conceived Bar Luce for the new Milan site, where he recreated the atmosphere of a typical Milanese cafè, reminiscent of Italian popular culture and aesthetics from the 1950s and 1960s and of the cinematographic iconography of masterpieces such as Miracolo a Milano (Miracle in Milan, 1951) by Vittorio De Sica and Rocco e i suoi fratelli (Rocco and His Brothers, 1960) by Luchino Visconti.
A project by:
Luigi Alberto Cippini
Giovanni Fantoni Modena
Disciplinary Spectrum Directors:
Cpt. (Retired) Mauricio Gris
With the partecipation of:
Beatriz Colomina, Keller Easterling, Franco Farinelli, Stefano Francia di Celle, Adam Harvey, Stephanos Ioannou, Sylvère Lotringer, Sarat Maharaj, Stacy Martin, Mark Wigley
Luigi Alberto Cippini
Consultancy - Construction Management:
Construction - Systems:
Zero4Uno Ingegneria Srl
Gemini Luci Srl
Atlantis Film & Video Srl
Transport - Logistics:
A. Rubelli Arte
Fabrics - Textiles - Materials:
Tappezzeria Nalesso Srl
FIDIVI Tessitura Vergnano Spa
Docks & Dockers
Nava Milano Spa
Textile and Fabric Consultant:
Director of Photography - Theatre Lighting Designer:
Amilcare Giuseppe Canali
Web Design - Digital Platforms:
Max Brun & Lola Toscani
Anna Barberini & Vittoria Dami
Maria Elena Fantoni
Research Editor - Press Office:
Visual Environment Assistant:
Financial and Legal Support:
Advisor: Pietro Mazzoletti
Enrica Fico Antonioni
Belligerent Eyes 5K Confinement
27 May — 11 September 2016
Ca’ Corner della Regina,
Santa Croce 2215, Venice
150716 – 280816>
John Palmesino and Ann-Sofi Rönnskog are architects and urbanists. They have established Territorial Agency, an independent organisation combining architecture, analysis, advocacy and action.
Their work focuses on the transformations of the relation between polities and space. Recent projects include the ‘Museum of Oil’, an initiative developed with Greenpeace to make the oil industry a thing of the past, exhibited at ZKM Karlsruhe in the ambit of Bruno Latour’s Reset Modernity! exhibition; ‘The Coast of Europe’ – a multi-year research on the urbanisation processes of the European project, and ‘North’ – an investigation in contemporary forms of geopolitics, sovereignty and resource exploitation in the Arctic.
Together with Armin Linke and Anselm Franke, Palmesino and Rönnskog have initiated the ‘Anthropocene Observatory’, a documentary practice combining photography, films, interviews, spatial analysis and exhibitions aimed at outlining the development of the Anthropocene thesis and since displayed in several museums and art galleries across the globe.
Palmesino and Rönnskog are directors of AA Territories Think Tank, a research centre at the AA Architectural Association in London, where they also teach Diploma Unit 4. Palmesino is research fellow at Goldsmiths, Centre for Research Architecture, London, and Rönnskog is a fellow at AHO, The Oslo School of Architecture and Design.
Beatriz Colomina is an architectural historian, theorist and Founding Director of the Program in Media and Modernity at Princeton University.
Her exhibition ‘Clip/Stamp/Fold: The Radical Architecture of Little Magazines 196X-197X’ has been displayed in several art institutions around the globe such as the Canadian Centre for Architecture and the Museum of Design of Barcelona. Her publications include ‘Privacy and Publicity: Modern Architecture as Mass Media’ which was awarded the 1995 International Book Award by the American Institute of Architects.
Keller Easterling is an American architect, urbanist, writer and professor at Yale University.
Author of several publications, her research and writing has been included in the 2014 Venice Biennale and exhibited at Storefront for Art and Architecture, the Architectural League in New York and the Rotterdam Biennale.
Franco Farinelli is a geographer, professor and president of Associazione dei Geografi Italiani (Italian Geographers Association). He taught in several institutions around the world, including the Université de Genève (Swiss), the University of California, Los Angeles (USA) and Paris IV: Paris-Sorbonne.
Sarat Maharaj is a writer, researcher, curator and professor.
He received his PhD in Britain with a thesis on ‘The Dialectic of Modernism and Mass Culture: Studies in Post War British Art’, and – after twenty-five years teaching History & Theory of Art at Goldsmiths (UK) – he currently holds a personal professorship in Visual Art and Knowledge Systems Focused at Research at Lund University (Sweden). An internationally recognised researcher, he is renowned for his curatorial work for Documenta 11 and his specialist publications covering Marchel Duchamp, James Joyce and Richard Hamilton.
Mark Wigley is an architect, author, professor and Dean Emeritus at Columbia GSAPP.
Besides publishing several books on the theory and practice of architecture (‘Constant’s New Babylon: The Hyper-Architecture of Desire’, ‘White Walls, Designer Dresses: The Fashioning of Modern Architecture’ and ‘The Architecture of Deconstruction: Derrida’s Haunt‘), in 2005 he co-founded Volume magazine with Rem Koolhaas (AMO, Rotterdam) and Ole Bouman (Archis, Amsterdam).
Curator of copious exhibitions, he was awarded the International Committee of Architectural Critics (C.I.C.A.) Triennial Award for Architectural Criticism (1990) and a Graham Foundation Grant (1997).
Transmission Compound is dedicated to the analysis of the relationship between transmission forms and the specific spatial configurations they shape, while the shifts between long-duration markings and inscriptions of human activities onto the Earth will be scrutinised in relation to the ultra-fast communication system of contemporary images.
There is no such thing as a global telecommunication system: although constantly referring to a globe, the many available nodes of network, protocols of access, extended cables and all their components still represent both an abstract coordinate system and an imperial symbol of power and sovereignty.
Cities and metropolis - besides representing the assemblage of accessing information systems’ and imperial symbols’ multiple forms - historically represented the complex aggregates of cohabitation and communication, shaped through the manufacturing of images, narrations, laws, social structures and protocols aimed at allocating hierarchies. The construction of the city, therefore, used to coincide with the engineering of images and communication systems, moulded by structures to protect, expand and enhance cohabitation.
While it seemed that the globe envisioned by telecommunication networks would lead to a seamless space of exchange, interconnection and interdependency, contemporary practices interact and intersect multiple new forms of containment and border zones. These are not simply counterpoints to the apparently uninterruptedly space of image transmission, standardisation and telecommunication: the hinges of these two systems constantly interplay and produce both violence and procedures of removal. While bestowing immunity to the violence they generate, they also multiply exposure and yield plural distancing processes.
What would a telecommunication system amount to without the deterritorialisation figure of the globe? How to bring down to Earth its technologies and measures?
The analysis will focus on transmission: the conveyance from one place to another of images and narrations, while distances and rapprochements will be enquired as elements of the production of contemporary space and place.
Transmission Compound will lastly probe the diverse and multiple processes of formation of space and place in parallel to modes of image transmission and to the making of accounts, statements, relations, recounts, explanations in the live-feed networks of news agencies.
Trevor Paglen is an artist, author and experimental geographer whose work has been displayed in several art galleries and museums including Fondazione Prada (2016), the Warhol Museum (2007) and Diverse Works (2005).
His practice features a calculated mingling between social sciences, contemporary arts, investigative journalism and several other obscured and dispersed disciplines: while his chief concerns revolve around how to see and interpret today’s historical moment for developing the means to imagine alternative futures, Artforum reviewed his production as ‘emblematic of our era as that of the naked Vietnamese girl scorched by napalm was of its’.
He is the author of five books and numerous articles on subjects such as state secrecy, the California prison system, the CIA’s practice of ‘extraordinary rendition’, military symbology, photography and visuality, and in 2014 he received the Electronic Frontier Foundation’s Pioneer Award for his investigations and studies as a ‘groundbreaking investigative artist’.
Adam Harvey is a Berlin-based artist exploring the realm of visual privacy, computer vision and security. After spending most of his professional formative years working primarily with photography, starting from 2013 he pushed his practice by undertaking a series of fresh new media such as computers’ facial recognition programs, biometric devices, surveillance cameras and drones.
Formerly regarded as the department entrusted with the in-depth analysis of all aspects concerning lights, lenses and retinal preoccupations, cinematography has progressively witnessed an outburst of the contemporary, cultural and social, milieu by command lines’ representational amplitudes. While visual protocols have been outdistanced by scripted software empowered with the control and engineering of images, the proliferation of more efficient standards in assembly lines – such as Computer-aided manufacturing (CAM) – and the increased automation of mass surveillance habits – Closed-circuit television (CCTV) – have sharpened this obsolescence.
Forasmuch as both production and sharing are nowadays discerned and sourced from globally dispersed manufacturing companies, technology is currently observing a healing and regeneration of its production lines. This ‘rehabilitation ’ lays the set of sequential operations typical of any output down as a completely autonomous media.
Precisely for this reason, the need for a deeper understanding of the different degrees composing the representation, use, behaviour and level of abstract violence of this extensive, somehow vague, practical application of knowledge inherently arises.
This effort should generate an updated designed lexicon able to portray the current forms of dominance, besides forecasting the impending interventions about image and information governance.
ZERO MACHINES /
VISION BY DEFAULT
FOREIGN MACHINES /
A LOT OF MACHINES /
The translation to non-retinal – and therefore totally independent from the human sight – statuses ties the latest surveillance projects to the suppression of the historical praxis pertaining to perception.
From domain- and legal-linguistic verification processes available on the majority of digital platforms to non-civilian software designs aimed at overseeing the iconographic production, an overwhelming amount of material and intangible technologies are leading towards a major shift and a new, unprecedented condition: the human optical system has been finally released from its responsibility of taking precedence over vision.
As these models of optic scrutiny are autonomously driven by XXI Century software, they are at the root of the creation of an original form of independence: ‘not-seeing’ proves to be the very own, distinctive designed foundation of contemporary and future technologies.
The suppression of the conditions regarding struggle and shock, along with the projective gap between machines and human scrutiny, is violently shifting sight to non-descriptive behaviours. Automatic apparatuses are consequently conquering, buffering and stabilising this built-in condition on new organisational settings, while dislocating the quantitative stasis that lies at the core of image production.
Delving and evaluating non-human developments as a possible future environment for the advancement in media technology hence becomes both a preoccupation and a doable reality.
Captain (Retired) Mauricio Gris is a former British Army Officer and Combat Camera Team Leader1. Whilst enlisted, his main duties and responsibilities encompassed the direction, production and distribution of reports from regions scarcely accessible to conventional news agencies.
While in office, he started pushing the boundaries of adversarial media generation by taking alternative audio-visual devices to the battlefield with him: during a six-month long deployment in Afghanistan, for instance, he produced the first firefight ever recorded in 3D.
Since leaving the Army, Mauricio has freelanced as a news producer for BBC Newsnight. In 2015 he headed off to Syria to embed with foreign volunteer fighters joining the Syrian Kurdish Forces, and his coverage and chronicle turned into the Channel 4 documentary film ‘Frontline Fighting: The Brits Battling ISIS’.
Strongly fascinated by the effects a camera has in conflicts, Mauricio is currently working on a range of projects aimed at pushing the boundaries and limits of war coverage.
1 Established during the 2003 Invasion of Iraq, the CCT instituted the official British army’s own embedded media corps, while responding to the need to manage media during conflicts. The CCT was the natural and enhanced successor of the Army Film and Photographic Unit, a British armed forces’ subdivision established in 1941 at the request of Winston Churchill. Aimed at the recording of military events, it was disbanded five years later because of the high rate of human losses (almost 23%).
Camera Combat aims to reshape the Non sequitur physical language and experience of the representation, coverage and depiction of battlefields.
Through an attainable set of scenarios that have been carefully engineered with the unfiltered, emergent behaviours typical of war zones, an experimental approximation of a Field Training Exercise (FTE) and consequent transmission of all filmed materials will take place in an abandoned Venetian service academy. Coordinated by a former Combat Camera Team (CCT)1 Leader, this series of exercises will work towards a deeper understanding and investigation on how to condense the conditions of vigilance over prolonged periods of time - when physical stress affects aspects such as sight and balance - into a visual lexicon.
Because of the absence of any stable ground, the current state of ‘warfare streaming’ lacerates the conventional and established news collection and documentation process: reporters and soldiers who work in environments detected as ‘hostile’ and ‘dangerous’ have to withstand a number of different and biological spatial circumstances that are by nature tied to a movable interferometric degree of visibility.
What is more, since discussing warfare is no longer possible without contemplating its media representation, the consistency of its operations, approaches and coalitions are nowadays undividable from the formats, channels and visual renditions allowing the general public to deem conflicts as something inertly close, but geographically distant.
That is why the recovery process of raw images, hailing from territorial and political regions whose critical threat and emergency levels surface as steady, has to be submitted to new analysis conditions and informational filtering systems.
More precisely, a dissociation from any alleged ‘homogeneity’ or ‘liaison’ with the world of journalism and the documentary practice proves to be impelling, while snapshots and videos produced within these hostile environments should be evaluated as unencumbered of any journalistic essence. These production, after all, in order to achieve independent analytical skills, do not need to tie themselves to any journalistic media: if traditional news agencies always require a development and elaboration of the context from which they arise, these unprocessed and sometimes rough materials have to be understood as a new, completely independent, form of visual language.
The loss of this urgency of association allows the visual condition of warfare to be devised as an original configuration which levels itself off as a ground-breaking and futuristic practice.
While its ‘stabilisation policies’ operating in combat zones have been drastically transmuted by individual technologies, the contemporary praxis appears to be exempt from any editorial format, carrier wave or direction: the ‘warfare streaming’ is an unadulterated mould that accumulates all the recordings, all the videos and all the pictures on the field, without any distinction, priority or sensitivity.
All of this aside, and although the greater engineering transformations regarding military vision have aroused their interest in unmanned and automated states aimed at the monitoring and consultancy of the surrounding environment, i.e. all those technological systems that proves to be belligerent in their entirety, these can not and should not be intended as the sole visible spectrum of war.
The formats and typologies for encoding data on the field are chained together with whichever filmmaking equipment turns out to be available: from individual registration devices to professional cameras, the conditions of recording eventuate as intensely asymmetric.
The physical and mental conditions, the life-and-death struggles, the gasps in vision generated by the necessity of hiding from the enemy, and the complex but resistant iconography of threat are all states that, while accumulating, are collected in unfiltered and coarse formats.
Despite the fact that this storing somehow converges with the method used by traditional news agencies, this chronicling recounts boredom, preparation, strategy, relief and bleakness, besides endorsing a different, already contextualised, narrative.
The interpretation of the recording practices employed in contemporary battlefields should therefore be understood as a completely independent and separate form of production: conceived as the most urgent, efficient and performing language in the description of crisis, it effectively proves to be unrestrained and free from any analytical requirement.
This condition, however, dangerously fastens a number of geographically areas that are only apparently distant from the natural position of what is generally perceived as peaceful and well-founded: the introduction and assimilation of these narrative and visualisation formats should hence be intended as one of the possible caveats for the registration and envision of the near future.
1 The British army’s own embedded media squad.
Vittorio Gallese is a cognitive neuroscientist whose researches and experimentations focus on the cognitive role of the motor system and embodied account of social cognition: instrumental in the discovery, together with his colleagues from the University of Parma, of mirror neurons and the elaboration of a theoretical model of social cognition – embodied simulation theory, he has been awarded the Grawemeyer Award for Psychology (2007), the Doctor Honoris Causa from the Catholic University of Leuven (Belgium, 2010) and the Arnold Pfeffer Prize for Neuropsychoanalysis (2010).
He currently teaches and lectures at the Department of Neuroscience of the University of Parma (Italy), at the Institute of Philosophy, School of Advanced Study of the University of London (UK) and at the Department of History & Archaeology of Columbia University (USA).
Stacy Martin is a French actress who received critical acclaim for her interpretation of the younger version of Charlotte Gaingsbourg’s character Joe in Lars von Trier’s drama film ‘Nymphomaniac’.
Raised between France and Japan, she studied Media and Cultural Studies at the London College of Communication while attended classes on the Meisner technique at the Actors’ Temple (UK).
She has been nominated for a Bodil Award for Best Actress in a Leading Role, and has since appeared in Ben Wheatley’s 2015 film ‘High Rise’ and Matteo Garrone’s ‘Tale of Tales’.
Fragilities, pleasures, stardom, an exceptional behavioural discipline and various corporeal restraints are just some of the constituent elements that have been historically instrumental in establishing the realm of the actorial and performative domain.
The bodily epitome has lately endured a polarisation and decentralisation process that, besides trespassing the natural borders drawn by traditional cinematographic interpretation and fixed physical locations – such as theatres and academies, has erased the comprehensive exclusivity provoked by visibility and exposure.
Nowadays actor’s standards range between news anchors’ icons and institutional figures: while presenters are entrusted with the viva-voce editing of political and socioeconomics updates, the latters undergo a constant scrutiny carried out by HD cameras and live reporting.
This mechanism has not only modernised and annihilated the performer’s essence and qualification, but it has also input new forms of independence and research.
Contextually, the impact of new recording technologies has turned the neat line between the actors’ political values and the unnamed, neutral individuals’ invisibility into a blurry blending lacking of enough space for body’s dissection.
Habeas Corpus | Neuro-Aesthetical Regimes will be coordinated by a renowned neuroscientist and will benefit from the involvement and dedication of a number of actors.
Aimed at providing a ground-study and original lexicon able to overturn and refresh the relation between dramatic arts and scientific research, each experimental session will focus on the registration, approximation and assembly of different elements such as physical presence, gestures’ modifications, skin responses and body parameters.
The environmental equipment installed within the premises of Ca’ Corner della Regina will operate as the registration platform and approximation dais of what currently and tangibly embodies the notion of physicality: exposing corporeity to a number of representational applied sciences will consequently trigger a deeper investigation on concepts such as visibility and scrutiny, while the complex mechanics of privacy and its availability to the spectators’ eyes will be challenged and confronted.
Through the act of recording with different audio-visual typologies – ranging from surveillance to thermal models, Habeas Corpus will lastly catch the opportunity for an advancement in the study of brain response over the formats, technologies and aesthetic praxis currently available to practice research.
Fully aware that image production is not anymore compelled to exist for the sole purpose of purely revealing social structures, figures or plain visibility, the whole experiment will dig up for an alternative use, reception and consumption of the cinematographic and dramatic arts.
Display is a multi-skilled design office based in Milan. Founded by Alessandro Barbieri, Andrea Bergamini, Michele Marchetti and Francis Needham it focuses on digital and printed identities, creative direction and exhibition design. Deeply involved in the experimentation with code, data visualisation, sound design, paper and alternative languages.
Censorship is not only obsession with anonymity, i.e. the less disturbing consumption of content, but also risk management strategy for any language’s popularisation ⎯ being this either cinematic, visual, spatial or printed.
An arrangement of predetermined lexicon aimed at the maximisation of scope and the amplitude of content, censorship has become the definitive authorial act and editorial figure: by representing the process which unbounds intellectual strategies and political obligations, it presently performs as the anti-shock, precautionary measure matching minimalism with finitude.
Censorship currently sprawls worldwide as a form of geographical politeness, while its materialization has become one of the most contemporary and trusted infrastructures.
Although official reprimand has reached a status so as highly and complexly evolved to miss any material recognition, its mere dismissal as the Politics of No proves to be reductive: whilst in the past motion picture’s epicentres were exclusive and characterised by peculiar ‘purifying’ regulations, the last century has witnessed a substantial growth and multiplication of these cinematographic cores and consequent control policies.
HII - Hidden Images Infrastructures
VII - Visible Images Infrastructures
Curricular studies on censorship have therefore become the necessary backbone of image communication, while its practical application is in need of a fresh and original new systematisation. As the political precepts guiding its action are somehow regular and physical, through their cut-action they represent one of the last empirical entry points for the investigation of contemporary information culture’s variations and crisis.
Censorship’s main achievement is surely the creation of an alternative database of forbidden images, impolite political messages, despicable aesthetical exuberance and controversial social commentaries. Nevertheless, it does not just involve the practice of cinema ⎯ the romantic battle between voyeur filmmakers and national film gilds for the release of a few more frames of female skins, but all the spheres currently conveyable via images and videos.
Censorship, through the insatiable production of banned by-products, has modelled a non-visible, but deeply optical, infrastructure.
A contemporary project on its status should hence entail a series of innovative researches revolving around both higher standards of vision and suppressive actions: besides not being solely intended as a ‘banned embodiment’ and ‘designed security’ paradigm, it should be also addressed as a flexible, somehow quixotic, communication project.
Visibility and its detailed standards should contextually undergo a series of stress experimentations in order to avoid any reconcilement with erasure ⎯ to this day an act still superficially deemed as the par excellence standard by which any censorship committee opens the debate.
Censorship Design will consequently entail the concept of confinement as a new form of action, while admonishment will be studied as a machinery aimed at the production of a blockage prose.
This month-long collective effort will seek for new parameters and an update of communicational and visual restrictions, besides committing itself to frame censorship as a renewed project actively concerned with the future of images. Understood as the exertion of the contemporary visual trends generated by the process of suppression and reduction of any complication regarding the social structures’ status quo and of the distribution of media contents, Censorship Design will materialise itself as an online platform welcoming an active participation from the public.
(Intra / Extra Moenia)
A broadcast experiment
to be unveiled in conjunction
with the Venice Film Festival.
Public Scrutiny | Image Economy
Christian Marazzi is a Swiss economist, professor and author.
He earned a degree in Political Science at the University of Padova (Italy), a master’s degree at the London School of Economics (UK) and a doctoral degree in Economics at the City University of London (UK). He has since taught at the University of Padova, at the State University of New York (USA) and at the University of Lausanne (Swiss), while holding several lectures and conferences around the globe.
Currently directing the Department of Socio-Economic Research at the Scuola Universitaria della Svizzera Italiana (SUPSI, Swiss), he authored numerous key publications on work transformations and post Fordist economy, including ‘Capital and Language: From the New Economy to the War Economy’, ‘The Violence of Financial Capitalism’ and ‘Autonomia: Post-Political Politics’ (co-authored with Sylvère Lotringer).
Sylvère Lotringer is a literary critic, cultural theorist and author.
Professor Emeritus of French Literature and Philosophy at Columbia University and general editor of Semiotext(e), he studied at the Sorbonne before receiving his doctorate from the École Pratique des Hautes Études VIe section (Paris, France) in 1967.
Besides being instrumental in introducing French post-structuralist and contemporary theory to the American general public, he co-authored a number of books with Paul Virilio and Jean Baudrillard including ‘Pure War’ and ‘Forget Foucault’.
Deeply dedicated to bringing together French theory and contemporary American art, he has published extensively on art and contributed to exhibition catalogues from the Museum of Modern Art and the Guggenheim Museum.
Public Scrutiny | Image Economy is a critical reportage and investigation on the current dimension of image economy. While representing a constant intermediary aimed at unravelling and intercepting the various media environments at place in Belligerent Eyes cultural program, these fortnightly panels will canalise a series of semi-public discussions revolving around the apparently contradictory concepts of economy and iconography.
On the grounds that visual production has always been foreign and irrelevant to the inner workings, operational system and general acceptance of finance, monetary economy still operates on handled data whose consequent consumption occurs throughout a permanent practice of research and accumulation. The attempt to avoid any possible informational asymmetry represents both the basis and raison d’être of those contemporary information networks constantly delivering an immediate and extemporaneous consummation of content.
Directed towards the erasure of voids and undefined portions of information and at the sale and delivery of a perpetual, horizontal levelling intelligence able to confine errors and divergences, the conditions of this production are consistently performed by an innovative edge, namely the screen: lacking of any restrictions, this embodies a perpetual form of parallelism and coexistence between what can be broadly seen and what internally governs capitalist economy.
The lateral spatial properties, radical thinking and driving systems financial stabilisation will be investigated through the conditions by which contemporary image production is carried out in today’s spheres of interference: as images always come at a price, the danger and preoccupation coming with their content are always sublimated by image engenderers’ status.