Music Project 2018
Music Project 2017
Music Project 2016
Music Project 2015
Music Project 2014
Music Project 2013
Music Project 2012
Music Project 2011
Music Project 2010
Music Project 2009
Music Project 2008
Music Project 2007
Ambra Pittoni
Born: 29/03/1978
in: Borgomanero (Italy)
Address: Reichenbergerstr.117 10999 Berlin, Germany
Address 2: Via Domenico Savio 30 28021 Borgomanero, Novara, Italy
I conceive my works as maps in which several process are activated simultaneously: observation, study, sharing, experiencing and learning. My practice is based on my relation to what surround me: I look for the secret threads that link things apparently very different each from the other.
Each of my work develops as a rhizome, involving in parallel various disciplines, approaches and reflections attempts, maps of actions, documents and objects; merging with existence, mine and of participants’: audience, stakeholders who influence the course of events and the final form that the work will take. Therefore I conceive my works as a constant occurrence, so that a performance or a project may extend over time, sometimes over several years.
The trace, understood as an incomplete information set, is for me particularly important. I build traces of human actions:
of dance, of a piece of art, of a language, of an opinion, of an interview. A series of clues that suggest what happened before, without describing it but rather leaving the space to the imagination of the interlocutor.
Therefore I question spectatorship and the role of art in today world. My education in fine arts, dance, dramatic arts and multimedia, makes my work being the result of a continuous dialogue and breaching of disciplinary boundaries.
The works’selection I sent you, presents both my and Ze Coeupel’s works(the name of the collaboration between me and the french artist Paul-Flavien Enriquez-Sarano).
“From the disaster to desire, for the beauty of the gesture. The poet Rainer Maria Rilke said that the “depth of time” was revealed more in human gestures than in archeological remains or in fossilized organisms . The gesture is a “fossil of movement” : it is at the same time, the very mark of the fleeting present and of desire in which our future is formed. It is therefore not by chance if the Mnemosyne atlas appears first of all like a collection o gestures in the “pathos formulae”, said Warburg, “time becomes visible”. Numerous artists today put to work, like poetanthropologists, this memory and desiring power- affirmative, amorous-of the gesture.”
From “Atlas: how to carry the world on one’s back” from the exhibition catalogue, G.Didi-Hubermann
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