Diego Marcon
ArtReview|September 2023
"In general when I work, it's not like I'm looking for something and I find moles, it's more like moles find me, they pop up. I don't know why, I just try to remain open to these kinds of visit"
Chris Fite-Wassilak
Diego Marcon

I first met Diego Marcon on an island. We were on a residency at Lake Vassivière, in France, and he had begun to film clouds on Super 8 and to hand-develop the film in his residency apartment’s shower. The resulting silent short loop, Pour vos beaux yeux (For Your Beautiful Eyes, 2013), is a futile attempt to capture shape-shifting clouds, but also a brief meditation on seeing and film, on how light can be filtered and held for a moment, to be passed on. While on the island, Marcon introduced me to his earlier SPOOL series (2007–12), where in exchange for transferring someone’s homevideo recordings from their tangle of Hi8, MiniDV and VHS formats to digital, the Italian artist was given permission to use the footage to create his own videos. The resulting edited shorts were shaped around what type of film genre Marcon determined the principal camera- person – often a listless or doting dad – had subconsciously drawn on to direct their footage: one becomes a roving road movie; another a tense horror film. Cinema’s influence, Marcon suggests, is something beyond the direct experience of watching, but imbibed and distributed into how we imagine the world around us.

Diese Geschichte stammt aus der September 2023-Ausgabe von ArtReview.

Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.

Diese Geschichte stammt aus der September 2023-Ausgabe von ArtReview.

Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.

WEITERE ARTIKEL AUS ARTREVIEWAlle anzeigen
"One day this boy..."
ArtReview

"One day this boy..."

How David Wojnarowicz gave me life

time-read
6 Minuten  |
September 2023
Art Encounters Biennial My Rhino is Not a Myth: art science fictions
ArtReview

Art Encounters Biennial My Rhino is Not a Myth: art science fictions

Various venues, Timişoara 19 May-16 July

time-read
3 Minuten  |
September 2023
Southern Discomfort
ArtReview

Southern Discomfort

A series of upcoming biennials promise to explore the art of the 'Global South'. But what does that mean? And is the term of any practical use?

time-read
7 Minuten  |
September 2023
Casey Reas
ArtReview

Casey Reas

Crypto has crashed and burned, but NFT visual culture is the better for it, and here's why, says the pioneering artist and programmer

time-read
10 Minuten  |
September 2023
Isabelle Frances McGuire
ArtReview

Isabelle Frances McGuire

Through kitbashing and the hacking of readymades, an artist explores what digital visual culture might look like in material form

time-read
6 Minuten  |
September 2023
No pain, no gain?
ArtReview

No pain, no gain?

What's primary about Matthew Barney's SECONDARY

time-read
8 Minuten  |
September 2023
Fine Young Cannibals
ArtReview

Fine Young Cannibals

A spate of recent glitzy films have asked us to eat the rich. But what, asks Amber Husain, are we really swallowing?

time-read
3 Minuten  |
September 2023
Mutant Media
ArtReview

Mutant Media

Animation and gaming design studios aren’t just for entertainment, claims Jamie Sutcliffe, they’re a geneticist’s lab for producing our spliced bio- cybernetic future

time-read
4 Minuten  |
September 2023
Midcareerism
ArtReview

Midcareerism

What's an artist to do when no longer dewy and not yet long in the tooth? Martin Herbert surveys the options, none of them pretty

time-read
3 Minuten  |
September 2023
Diego Marcon
ArtReview

Diego Marcon

\"In general when I work, it's not like I'm looking for something and I find moles, it's more like moles find me, they pop up. I don't know why, I just try to remain open to these kinds of visit\"

time-read
10+ Minuten  |
September 2023