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Nanni Balestrini
Tristanoil n. 5, 2012
Inkjet on canvas
60 x 90 cm
Tristanoil n. 5, 2012
Inkjet on canvas
60 x 90 cm
Press Release
Nanni Balestrini. Tristanoil
Opening: September 18, 2012
September 19 – October 31, 2012
Opening: September 18, 2012
September 19 – October 31, 2012
The Marconi Foundation is pleased to present Tristanoil by Nanni Balestrini, the longest film in the world.
On view during Documenta 13 in Kassel from June 9 to September 16, 100 days and 2400 hours later, the non-stop screening will continue in the basement of the Marconi Foundation in Milan.
The film will be accompanied by works on canvas with images taken from the video.
The new set of screenings will last one year through many art galleries in Italy: Marconi Foundation in Milan, Frittelli Gallery in Florence, Fabio Mauri Studio in Rome, Martano Gallery in Turin, Mazzoli Gallery in Modena, Morra Foundation in Naples, Michela Rizzo Gallery in Venice, Palazzo Ducale in Genua.
Tristanoil is a film created with a computer that reassembles more than 150 videoclip, ten minutes each, so that every video sequence is different from the other, though the topic is the same: the destruction of the planet through a predatory use of its resources.
The images, taken from Dallas, news of environmental disasters, images of the stock exchange, of exploitation, of war, come out from a flow of golden oil homologating them and setting up as a combinatorial and potentially endless game.
On view during Documenta 13 in Kassel from June 9 to September 16, 100 days and 2400 hours later, the non-stop screening will continue in the basement of the Marconi Foundation in Milan.
The film will be accompanied by works on canvas with images taken from the video.
The new set of screenings will last one year through many art galleries in Italy: Marconi Foundation in Milan, Frittelli Gallery in Florence, Fabio Mauri Studio in Rome, Martano Gallery in Turin, Mazzoli Gallery in Modena, Morra Foundation in Naples, Michela Rizzo Gallery in Venice, Palazzo Ducale in Genua.
Tristanoil is a film created with a computer that reassembles more than 150 videoclip, ten minutes each, so that every video sequence is different from the other, though the topic is the same: the destruction of the planet through a predatory use of its resources.
The images, taken from Dallas, news of environmental disasters, images of the stock exchange, of exploitation, of war, come out from a flow of golden oil homologating them and setting up as a combinatorial and potentially endless game.
The project originates from the combinatory novel Tristano by Nanni Balestrini, published in 2007.
Each copy of the novel is different from the others, thanks to a combinatory process.
“That novel was built on the potential endless editing of various linguistic materials. Balestrini aimed at undermining the idea of mass-produced works, of the work of art reduced to a standardised industrial product. […] Tristanoil is an epic work of tragic resistance, and its abnormal running time makes it powerful. Nobody could watch the entire film because it would mean suspending our life. It’s a work that we can grasp through fragments, as to highlight the vastness between our single power and the one of the overhanging system. Balestrini turns to a collective audience, to a community, as to say that only by joining our individual experiences we could really develop a conscience of the present”. (Gian Maria Annovi, "Il Manifesto")
Each copy of the novel is different from the others, thanks to a combinatory process.
“That novel was built on the potential endless editing of various linguistic materials. Balestrini aimed at undermining the idea of mass-produced works, of the work of art reduced to a standardised industrial product. […] Tristanoil is an epic work of tragic resistance, and its abnormal running time makes it powerful. Nobody could watch the entire film because it would mean suspending our life. It’s a work that we can grasp through fragments, as to highlight the vastness between our single power and the one of the overhanging system. Balestrini turns to a collective audience, to a community, as to say that only by joining our individual experiences we could really develop a conscience of the present”. (Gian Maria Annovi, "Il Manifesto")