email anna.dem@libero.it
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Anna de Manincor -videomaker e performer-
Anna de Manincor, nata a Trento nel 1972, risiede a Bologna. Proviene dal teatro-danza e dalla scuola cinematografica. Introduce nell’ambito dell’arte contemporanea degli elementi di narratività e di ritmo generalmente estranei alla produzione artistica dei nostri giorni. I suoi lavori vanno dalla performance teatrale, talvolta giocata anche solo come progetto sonoro, al video, alla video installazione.
Nel 1999 è co-fondatrice del gruppo ZimmerFrei, insieme a Massimo Carozzi e Anna Rispoli. In questi anni alterna il lavoro individuale a quello con il gruppo. La Galleria Civica di Arte Contemporanea di Trento ha sostenuto il suo lavoro invitandola in numerose mostre ed eventi, sia da sola che con il gruppo ZimmerFrei. Nella mostra Parole parole parole, a cura di Alessandra Borgogelli e Fabio Cavallucci (aprile-giugno 2002), ZimmerFrei presentò l’installazione sonora Spazio largo / cinema interno, replicata in versione live nell’evento ViaPal. Il confine delle notti a Rovereto (24 maggio 2002). Anna de Manincor è stata invitata come singola artista alla mostra Avances, a cura di Orietta Berlanda e Fabio Cavallucci (giugno-agosto 2002), dove ha proposto la videoinstallazione Stop Kidding, opera prescelta per la Biennale veneziana. Tra novembre e dicembre del 2002 ha inoltre tenuto per la Galleria Civica (in collaborazione con l’Assessorato alle Politiche Giovanili) il corso Clip!, finalizzato all’insegnamento della realizzazione di un videoclip. Poche settimane fa ha realizzato per l’Assessorato alla Cultura del Comune di Trento uno spot contro la guerra. A lei sono state dedicate sei pagine della secondo numero della rivista della Galleria “Work. Art in progress” nel giugno 2002, con un testo di Marco Altavilla. Il gruppo ZimmerFrei ha rappresentato la scelta della Galleria Civica per la mostra Next Art a Bari, nel dicembre scorso, quando venti istituzioni artistiche italiane sono state invitate a segnalare ciascuna un giovane artista.



Posted by Marco Altavilla / Translation by Stephanie Portoghese on August 21, 19102 at 16:18:26:
Anna de Manincor
a voracious and bastardised artist Marco Altavilla / Translation by Stephanie Portoghese
After a time spent in Paris studying contemporary dance and direction, Anna de Manincor started work as a video-artist and video-maker, producing both video clips and short films, and also embracing the recent Italian theatre scene. Having definitely relocated to Bologna, she forms a creative partnership with Massimo Carozzi and Anna Rispoli, thereby creating ZimmerFrei. It goes without saying that by following such an intricate and faceted path she develops her own research and her personal prose. “My individual work is older, and I feel this more differently now that the work I am doing with ZimmeFrei has found its own strong identity and its own very original production line. ZimmerFrei concentrates on the planning stage and looks at the world, at the vast spaces (physical and putative). The work I do on my own is based more on silence and tyranny. I am not addressing only myself, I don’t speak very much in my videos and I don’t explain my the choices I make even if I collaborate with a very close-knit group (Luigi Martinucci for photography, Davide Pepe for editing and Massimo Carozzi for sound).” Her research erupts, is set on fire, bowling over and placing the focus on her past as well as the collective subconscious, mainly thanks to her porous and osmotic sensitivity which is sustained by constant tension in reformulating space, something she has investigated in different ways. The video, the main tool she uses, opens up to different facets: rhythm, the fundamental link between rhythm and sound which is so typical of video-clips, a certain type of narrative linked to short films, the voracity of video-art, paying particular attention to choreography and a carefully planned photographic setting of the scene, converge towards a single objective which has no continuity: “My work is always inspired by the combination of a vision and a perceptive state. Then the subject imposes its will and demands to be shaped. From then onwards, there is no distinction between choreographically building the single shots and the way the bodies and the space are treated with cinematographic sensitivity. All this is done with the best technology available. The concept of multimedia has not sense for me. I feel, I think and I speak in a single bastardised language” Different elements, which are perfectly blended, and which extol and sediment, give form to acute reflection and an iron will to prevail and exist in the world; a magnifying lens reveals common grounds of our society, a tension slowly unravels our convictions. Hers is a unique and bastardised language which places her within the goals of the new generation, common to the most recent artistic productions, which are characterised by the clear surpassing of the concept of multimedia: beyond this means, and towards its total absorption of forma mentis, a hybrid with other forms of media, with the aim to observe and recreate the world, design new imageries and create new possibilities. It is not about dealing with video in order to exclusively test its conceptual possibilities: rather, it is simply no longer sufficient to do so. Anna de Manincor seems interested in the blending of two poles, which at one time seemed irreconcilable and which lead her to carefully consider how the conceptual aspects can blend with an impeccable formal elaboration. She does this by introducing attractive elements to capture the viewer and immerse him in what she defines the main element of video, “the Audio/Video interdependence”. From here her choice to pass from video to video-installation. After the first video entitled Da Nero a Nero (From Black to Black 1999) an idea takes form to rethink the whole perceived space and to recreate it in a totally new manner. “I don’t think of videos as being destined exclusively as pre-established notions: every image/sound must find its own way of filling space, interact with the materials on which it is projected, fill the space it crosses over, the light which moves. Each project re-elaborates the physical environment and is a way of reaching the viewers. I think that this need comes very naturally from my experience on stage, from performance (I am still referring to sensitive time and space).” The video perforates the two-dimensionality of the screen, invades and fluctuates, and is doubly tied to experiences which move away from video-art to reach experimental theatre, contemporary dance, film and sound installations. The work being exhibited, Stop Kidding (2002), is a three-screen video installation, which convulsively and obsessively interweaves images of faces. The main characters who were invited to an improbable casting were asked to firmly declare “I don’t want to bear children for this country”, to use their sexuality to detract and to sabotage the system from within and use their bodies beyond their predestined roles in favour of exuberant sexuality: “The stillness of the faces and the exaltation of the body is alternately projected on the screens and the statement is made that this is not done out of selfishness or narcissism, but rather that the bodies love themselves enough to forward the interests of the species in any which way: it is an angry and threatening promise. We have this biological power and we can decide whether to use it or not even by making it a violent act”. Austere faces, shot from the front, short circuit and alternate with other softer and humoral images of bodies which emerge from thermal baths, with sound, which is the fundamental element able to tie and extend the images. The message is clear and laconic, transmitted not only through video, rhetoric or didactic images, but rather projected within a force field in an enjoyable and attemptable space, which is at the same time intriguing and insidious. Filmography - Die For Me (2002) - Black To Black - Time For Thinking (2001) - Never Keep Souvenirs Of A Murder (2001) - Roccu Fatiga E Pizzicatu Mancia (2002) - Some Breaking (1999) - Studio Sul Sonnecchiare (1999)