![]() The video consists of images taken from the artist’s family archive, which is the repository of photographs taken by her great grandfather at the time of fascist colonialism in East Africa. Adjacent to the video’s projection room is a cabinet which displays the original 35mm photographs and photo albums. These questions echo in her latest work FIAT 633NM (2021), a single-channel video exhibited for the first time at the Centre of Modern and Contemporary Art (CAMeC) of La Spezia in the Winter of 2022. How is the experience of vision impacted by a purposely built immersive space? How does sense-making work when stories are communicated and interpreted by juxtaposing images? Eleonora Roaro. FIAT 633NM, 2021. Through her practice she investigates the dimension of spectatorship, placing particular importance on the spatial relationship between the moving image and the body of the spectator. The functioning of these devices is relatively simple as, through the consequent display of images, they are able to evoke intended narratives. She first started by investigating the qualities of devices such as zoetropes, praxinoscopes, kinetoscopes, and magic lanterns, which led to the modern invention of cinematic devices. One of her interests lies in the archaeology of cinema, both as a way to explore the historical ways of engaging with moving images and film and, for us today, as a means to explore the historical, social and cultural dynamics connected with these spaces of spectatorship. In her practice, Eleonora Roaro mainly works with moving images, in particular videos, and archival practices. Roaro studied photography (BA – IED, Milan), Visual Arts and Curatorial Studies (MA – NABA, Milan) and Contemporary Art Practice (MA – Plymouth University, Plymouth). ![]() She has published articles and essays on “Alfabeta2”, “Alphaville”, “D’ARS”, “Doppiozero”, “Espoarte”, “Flash Art”, “Juliet”, “Hot Potatoes”, “L’Avventura”, “Nazione Indiana”, “Noemalab”, “Scenari”, “Segno”. Between 2020-22 she won the MISTI Global Seed Fund (MIT, Boston) and Friuli-Venezia Giulia Region with “Sensing Dolce Vita: An Experiment in VR Storytelling”. In 2019, she was awarded a scholarship from Udine University for the research “Uses of augmented and virtual reality to promote artistic and cultural heritage”. She was artist in residence at UNIDEE (Biella) in 2019, Casa degli Artisti (Milan) in 2020 and Viafarini (Milan) in 2022. Since 2011 her work has been exhibited in museums and galleries such as La Triennale (Milan), Fabbrica del Vapore (Milan), MACRO (Rome), CAMeC (La Spezia), Maison de la Culture (Clermont-Ferrand), La Friche (Marseille), E-Werk (Freiburg), Fiesta Cultural Center (San Paulo), Luisa Catucci Gallery (Berlin). Courtesy CAMeC, Eleonora Roaro Looping the Archive: Eleonora RoaroĮleonora Roaro (Italy, 1989) is a visual artist and researcher living and working in Milan. By researching what is to be seen, the artist reflects on her positionality and on who is seeing and, ultimately, also questioning our own place of spectatorship.Įleonora Roaro. By digging out what is there, the artist brings attention to the invisible traces and the gaps left by what is not there, using the archive as a mirror for something else. ![]() Taking inspiration from an archaeological approach, Eleonora Roaro puts in dialogue micro-stories with historical narratives, questioning the hidden power structures of institutional and private archives. In this article, the archive is used as an ‘excavation site’ through which histories and stories can re-emerge to question assumptions about the past and their repercussions on present expectations. Archival objects were brought to life through food, which served as a catalyst to create participatory spaces where ‘quiet politics’ could inhabit conversations and interactions. In the last article, Leo Burtin’s work revolved around notions of representation and identity, exploring how archival materials can differently resonate in institutional and domestic spaces. In this sense, archives become building sites to create new narratives. Often artists use ‘the archive’ as a theme itself, produce new taxonomies, respond to real archival materials to critically challenge modes of knowledge production, or use it as a framing device to invent characters or events from the past that are put in dialogue with the present to shed new light on contemporaneity. This series takes conversations with artists, and their practices, as starting points to encounter the different kinds of archives they choose to work with. Archiving Encounters is a series dedicated to the exploration of archives in contemporary art practices.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |