You can see the online project section here: https://uncanenellospazio.wixsite.com/exhibition
Like a dog in space is an installation project that aims to combine poetic art with the contemporary vision more typical of the web. In the juxtaposition of unpublished poems and GIF images specially selected from the net (Free Use), Like a dog in space, it proposes a disjointed audiovision of the poetic text and a re-articulation in its daily experience. Through the use of personal devices (smartphones), visitors will be involved in an adventure of détournement that will be able to question them on the role of speech and image along a cognitive and emotional journey.
In the collection of poems, every conclusion is not a conclusion but a suspension permeated by questions that the authoress passes as a witness to the reader. Stupor emerges when in EVERYTHING IS LINKED is investigated the matter of silence, the specific weight of the word. It returns in the small daily gestures narrated as "Modest tinsels from a popular novel" in the verses of THE WIND.
Without ever dwelling at the crossroads between positive and negative nature, without moral taboos or programmatic professions of cynicism, every verse goes to support a single thesis: when we are immersed in pain and when we abandon ourselves to laughter and joy shines, we are nothing but what we can only be, a part of our world, and all of this is astonishing. Last but not least, the short circuit resulting from the dialectic between poetry and gif — obtained thanks to the video editign of co-creator Federico Betta — ideally propels the reader to the primitive state engendered by the maraviglia (Latin); spectator and then active protagonist in what we hope can turn into a new practice of fruition.
An experience that actualizes and combines the high content of ars poetica to the visual and media forms of the contemporary, much closer to the youth cultural consumption.
Poetry, perhaps the highest creative expression of human language, is now perceived as too rarefied to compete with listening times, which are becoming shorter every day: today the automatism of "scroll" dominates our daily experience in the liquid and elusive scenario of the web, so alien to the forms of contemplation.
What would happen if a fragment of moving image, embanked in an infinite loop, was able to 'infect' a lyrical verse, the pristine language par excellence, and vice versa?
Dilation and speed, allusion and evasion, past and actuality, would be to infect each other, giving life to an intermediate narrative universe.
As if, 35 years after “Tango” by Zbigniew Rybczyński, the artifice of the poeticized loop tried to renegotiate that effect of mise en abîme that today governs our — virtual — reality.
GIFs come across poetry and, by connecting with the word, change their destination. The reuse of pre-existing works, the match-up and the transmediality, the juxtaposition of styles, the irreverence and the allusion of the texts, the explosion and the collapse of meaning, are the boundaries that define the movement of Like a dog in space.
The unpublished verses written and interpreted by Katiuscia Magliarisi have been recorded and mixed by the co-creator of the project, Federico Betta, with musical pieces by authors who have published their works on the web allowing their reuse.
The recordings were combined with GIF (Graphics Interchange Format) selected by involving their creators or taken from those of Public Domain.
The opera is hosted on a site created specifically for the project.
Like a dog in space uses original texts along with "Free Use", "Creative Commons" and "Public Domain” works.
The exhibition shows frames hosting a series of QR codes emulating a real exhibition path.
The visitor, framing the QR code with his smartphone, will be directed to the web page hosting the work: the exhibition then continues in that private mode that characterizes the daily use we have, through smartphones, of Internet contents.
With earphones, the state of intimacy that the poetic verse requires is preserved; while the interaction with the net, necessary to access the contents of the exhibition, places the listener-visitor-user in a context of everyday practices familiar to him.
The coexistence and simultaneity of different media multiplies the effect of the so-called UX (Internet User Experience) and, revisiting it, allows access to the ancient experience of poetic contemplation.
Each QR code corresponds to a GIF and to a composition associated with it: a touch on the screen of the mobile device connects the two floors. Physical and virtual. Collective and exclusive.