Data World

Data World

#Festival (57)

May, 27th 2003, 12:00 am | May, 27th 2003, 4:00 am
November 10, 2016

Wednesday 28 at 20, Flyer Communication will host an exhibition of painting, digital painting and web-art of Wladimir Vinciguerra.
During the evening, attended by the “Rainbow Tribe Sound”, Puxdelux and Gigi Parravicini, with electronic music, didgeridoo and bass for sound atmospheres “Skywalker” and the FLxER (Flyer Lab) video mix of B_Muvis video kru.

We are waiting

The text of Emanuela Nobile Mino

WLADIMIR data world

The linguistic universe of Wladimir Vinciguerra is based on digital experimentation seen as an exercise of expression can allow the artist is launching the many possibilities of interaction between different areas of contemporary culture. The reality, analyzed and broken down over several floors visually (and physically recorded on separate files and then reassembled) comes together then the two-dimensional support (in digital prints, sometimes frames of animation in Flash, sometimes compositions created as paintings in their own right) acquiring new meaning and unpublished narrative cues. From a reading that goes through the focus of certain images snatched from multiple angles, than the observation of certain social phenomena (such as the theme of war in recent work) is considerably re-signified. The juxtaposition of subjects, colorful backgrounds, results in the activation of a circuit metaphors linked and often sharp, addressed to an attentive spectator to grasp the critical sense biting that the artist constantly trying to convey and develop. An active approach to the work of Vladimir V. is necessary and essential in order to capture, in themselves and in the work that you have in front, the lively irony on which the artist sets not only their work but, in general, his research in art and life . It’s an ironic, that characterizes his poetry and his soul omnivorous and curious works to instill a communicative value so direct and appealing, and to guide the selection of iconography chosen on the basis of its oscillation balanced attitude among the disenchanted and the visionary. The visual material probed by the artist, in fact, it is inserted into a library of images of the most diverse and seemingly unrelated (in the latter work, for example, ranging from those that reflect the violence of the guerrillas in the street, those tanks arranged in sequence, the sinuous silhouettes of little women in micro bikini in action at a red light strip show) are, more than anything else, to establish a database of mixed feelings and versatile. Through the mixture of languages, techniques and posts, and thanks to minimal shifts in meaning, the artist focuses some thin link between things and between facts, that often defy all ¹ attention or are overshadowed by a studied policy anti-communication. These reports found in his works, evidence, and consequentiality, becoming the cornerstone of the whole than narrative. This is why the corrupt sexuality, censored and silenced may appear at the same time palliative joyful and reassuring, meeting the absurd weapon of war, it can become an instrument able to exorcise. It ‘s in contrast, in the exchange of roles, the deviation of the straight way, the perennial alternation of feelings and freedom of imagination that the artist seeks, and finds its solution to blindness and all ¹ indolence of the world than some social issues. The message appears in fact, in every job, iterated several times at different levels: on the one hand, it passes, in a more obvious and concrete, through the iconographic content (thanks to ¹ acquisition all’assemblamento and manipulation of photographic images and some specific certain drawings), on the other hand is expressed in pure form, and becomes dreamlike figurative abstract geometric stamp Pop. Even in this case, the language proceeds to contrasts and harmonies. It uses the dialectic of color: the verve button of artificial colors and refined, used as a filling of the emanations floral flat and at the same time as the glue between different representations, alternates with a total absence of color in the depths blacks, or contours markedly profile graphs of the figures, areas of darkness that can lurk, sometimes, the polemical tone of protest. Flyer, May 2003
Emanuela Noble Mino