MAGMA

M N E M O N I C C I T Y

M N E M O N I C C I T Y

T H E P R O J E C T

‘Mnemonic’ relates to specificity where the precise location within the city becomes meaningful. Magma therefore creates a series of signs by which artists and members of the audience can recognize a personal experience and significance and also learn about the history, mythology and other curiosities intrinsic to the space. From the centre to the outskirts, Magma transforms the chosen place into an imaginative archaeological site. Magma walks around the site, pushing the boundaries of this topographic knowledge to the point of sleeping on the site itself. While exploring the hidden side of it makes a record of that experience and translates it into different artistic responses.

The project Mnemonic city was inspired by Plato’s cave, but also by the research into the identity of the location as well as a passage into the private encounter with signs which remain usually invisible. Magma extrapolates on this original idea by showing the city as a receptacle of individuals that seek an entry into the mystery of the human presence within a self made artifice. The artists work within a set of organic ideas creating an opening into the ghost ship of mythology as a passage from undefined or ancient time into our contemporary era.

This process do not occur in one day, it is achieved in a minimum of one month. The reason for this length of time is the deep and complex look of each artist pursues, but primarily, it is due to the interaction and discussions resulting from this common and individual research. Magma creates an active and multi layered map of the environment it has integrated.

This why Magma use a wide collaboration. Each artist proposes and makes a special artistic reference which reflects the jour-ney they have taken and in turn each member of the audience will be invited to enter this journey through the piece of art. The energy of the performances, the emotional contact with all interlinked, originate in magma as a creative whole. The relation of the artist with the audience is fluid and the function of the space becomes permeable creating a magma be-tween the artist and the audience which becomes an active agent. Magma explores the idea of the city as a spontaneous evolution of emotions, using as a base the unconscious and the imagination, presenting the positive and negative areas which cross our memory in a space that we can call the magma cavern. If there is a possible conclusion, this would be the act of combining the latent life of a place with the members of the audience through the creative open intervention of Magma.

A R T I S T S

A n n a B u r e l I n e s v o n B o n h o r s t J a i m e V a l t i e r r a P a s c a l A n c e l B a r t h o l d i R é k a F e r e n c z i R o d r i g o C é s a r R u p e r t J a e g e r S i s e t t a Z a p p o n eW i l l i a m H o w a r dYa s m i n e D a i n e l l iY u r i P i r o n d i

41 01 83 03 84 45 05 66 26 47 4

Above: “Order”, 2012, oil on canvas, 50 x 70 cm. Shown at Mnemonic City Madrid

A N N A B U R E L

Anna Burel is a multidisciplinary artist born in France in 1985. She lives and works in London since 2009. She is currently based at the Bow Arts Trust.

Anna uses a variety of techniques as means of expression including: photography, collage, costume making as well as painting and film making.

Through her different artistic approaches she builds a personal creative language, which allows her to explore the idea of the Self, fragmented, imagined or reinvented as a search of Identity.

Above: “The Fair Market”, 2013, oil on canvas, 80 x 40 cm. On the right: “Gather Along The Market Place”, 2013, Mixed Material, 70 x 70 cm. Both shown at Moving Streets - Mnemonic City

Above: “Abuse of Your Power”, 2011, oil on fabric and paper, 40 x 20 cm. On the right: “Control”, 2011, oil on fabric and paper, 50 x 25 cm. Both shown at Plato’s Cave - Mnemonic City

STANDING SILENCEThe factories were largely responsible for the rise of the modern city, as large numbers of workers migrated into the cities in search of employment in the factories. As the world moves away from the Industrial Age and deeper into the Information Age, the relics of our former industries can been seen aging and abandoned. Since they can’t be used, they simply sit and gather the layers of time that make them fascinating until they are demolished, repur-posed, or completely forgotten about. These abandoned factories, have served their useful lives and now they stand in silence.

Above stills from the video “Standing Silence” 2010, 10 mins, stereo.

I N E S V O N B O N H O R S T

Ines von Bonhorst is a Director, producer and video artist with over 10 years of activity. Her works range from documentaries, long and short films, experimental films and video art installations, produced both in UK and Portu-gal. In her work she often explores notions of identity, forms, limits and society using the subconscious, surrealism and the counterfeit of being.

She loves to mix the deceptive of the performance art, theater, circus, with the life itself as she thinks that the boundaries between the two realities are not so far from each other’s. She likes to use the space, architecture and mood as a way to tell a story or represent the sensations given by the location itself. Many of her works try to cre-ate a spatial relationship between participants, she try to create a connection between the real and the fictitious and try to provoke sensations taken from our actual society such us anxiety, fear, love, claustrophobia, etc… .

She interacts with the viewer’s through her video installations, in that way the audience gain a new insight in their own definition of the “real”. Ines’ works are many times fruits of prolific collaborations between different artists, such as composers, performers and visual artists.

IMMUTABLEImmutable is a circle ,where life and death meet in the same place, is the thin line between nature and urban, where you find empty fields in which patterns of parallel lines and acute angles are repeated all over again until they unsettle our senses like a film run too slowly; each picture is both separate from and like all the others. There is no real time, the seconds, minutes and hours move as an unalterable routine. What was yesterday is not today. What is today will not be tomorrow. Yesterday is gone. Today is and tomorrow is yet to come. Yet time is said to have no holiday. It exists always.

Above stills from the video “Immutable” 2013, 10 mins, stereo. Shown at Inter-Scape - Mnemonic City

IMPETUSAs the stars and the entire universe have their own time, we as human beings impose an whole structure for these specific moments, we control it with seconds, minutes and hours. What applies for the different animals in earth and the other structures elements in the universe applies equally to our bodies, we are made by the same compounds as all other species, planets and stars are. We live and die. We depend one by another, we are literally children of the stars. Without the sun we wouldn’t survive. Impetus is an observation view towards the time and space of the earth. A collaboration piece with Yuri Pirondi and Lucia Tong.

Above stills from the video “Immutable” 2013, 10 mins, stereo. Shown at Inter-Scape - Mnemonic City Above stills from the video “Impetus” 2013, 10 mins, stereo. Shown at Inter-Scape - Mnemonic City

INNER MOSTInner Most tries to create an introspection between the past, present and future of one of the most charismatic markets in London, Ridley Road Market.Through the calm and steadiness of the night, ghosts of the past and representations of the present arise. The market is a place of constant mutation and transformation where myth and stories are hidden in the dark corners of the site; streets that seems to go in one way, end up transforming and turning in a different way, like life itself, what you see today can be transformed tomorrow.

Above stills from the video “Innermost” 2013, 10 mins, stereo. Shown at Moving Street - Mnemonic City

Above stills from the video “Innermost” 2013, 10 mins, stereo. Shown at Moving Street - Mnemonic City

Above “Shop I, Study for Innermost”, 2013, 20 x 30 cm, photographic print. Bottom “Shop II, Study for Innermost”, 2013, 20 x 30 cm, photographic print.

THE GUISEDirected by Ines von Bonhorst and Yuri Pirondi“The Guise” is a multimedia piece inspired by the allegory of Plato’s cave. Socrates describes a group of people who have lived chained to the wall of a cave all of their lives, facing a blank wall. Such prisoners would mistake appearance for reality. In “The Guise” we imagine the city as a receptacle, as if the cave is the city itself, where our memories, hopes and fears are been projected on.The representation of the prisoners chains for us is the most closed and most obtuse side of our cultural roots. Our interpretation of these chains as elastic bands, shows that as human beings we are able to express ourselves, symbolically able to move, but not able to leave, to detached ourselves from the tree, which embodies what our society imposes on us. This cross media collaboration has the aim to explore ecstatically the analogy between the Plato’s cave and the cities, using London as an hypothetical theatre stage.

Above stills from the video “The Guise” 2011, 10 mins, stereo. Shown at Plato’s Cave - Mnemonic City

EMERGENCIA (Emergency)Directed by Ines von Bonhorst and Yuri PirondiSocrates narrated the light seen by the prisoner outside the cavern and the prisoner’s first reaction at the view of mountains, lakes and fields is pure astonishment, and fear of the unknown, it takes him a while to assimilate his new freedom.The piece is questioning if this first primordial freedom is insight to everyone of us, and how can be reflected in a urban context, relegated to the lines and the spaces of the city. How this would emerge in all of us? Is it urgent to perceive the city as sensations rather than bricks and concrete?The piece is in collaboration with the Madrilenian performer Azahara Ubera that tied to the camera operator, brought the piece in different area of Madrid, where her memories mixed with the memories of the rest of the group had emerged as a map of the feelings.

Above stills from the video “The Guise” 2011, 10 mins, stereo. Shown at Plato’s Cave - Mnemonic City Above stills from the video “Emergencia” 2013, 10 mins, stereo. Shown at Mnemonic City - Madrid

J A I M E V A L T I E R R A

His paintings and etchings are the result of a meditative and enduring process within the medium. Both in his still lives and his narrative paintings, he explores figuration through a language that finds its way by means of composition of colours and a methodical understanding of space and form, also developing continuity through recurrent allegorical characters placed into imaginary situations and encounters, creating links between personal memories, present experiences, history of art and the modern world.

His digital work explores a densely abstracted world and its application as projected backdrops for the use of performance, theatre and experimental musical events. Use of low resolution images and basic animation tech-niques allows a continuous flux of patterns or simplified colourful landscapes and interiors reminiscent of modernist shapes and retro digital graphics.

On the left: “Not with Love, But with Fear”, 2013, oil on canvas, 90 x 75 cm. Shown at Inter-Scape - Mnemonic City

On the left: “We Destroy the Things We Love”, 2013, oil on canvas, 70 x 70 cm.Above: “The Fair Market”, 2013, oil on canvas, 50 x 40 cm. Shown at Inter-Scape - Mnemonic City

Above: “Polar Bear and Fox Story”, 2013, oil on canvas, 30 x 40 cm. On the right: “Projector I”, 2013, oil on canvas, 40 x 46 cm.

Above: “Hands Off”, 2011, oil on canvas, 80 x 65 cm. Shown at Plato’s Cave - Mnemonic City

Above: “Hands Off”, 2011, oil on canvas, 80 x 65 cm. Shown at Plato’s Cave - Mnemonic CityOn the top: “Projector II”, 2012, oil on canvas, 40 x 33 cm.

Bottom: “The Cave”, 2012, oil on canvas 40 x 33 cm. Both shown at Mnemonic City - Madrid

Above: “In the Bully’s Head”, 2012, oil on paper, 70 x 50 cm. On the right: “Humiliated, Resentfull and Blind”, 2012, oil on paper, 70 x 45 cm.

Above: “Boiler I”, 2013, oil on canvas, 70 x 60 cm. On the right: “Boiler IV”, 2013, oil on canvas, 70 x 70 cm. Both shown at Moving Streets - Mnemonic City

Above stills from the cine-animation “ZONE X Phantom Promise” 2013, 12:40 mins, stereo. Shown at Inter-Scape - Mnemonic City

Stills printed on paper, C Print, 2013, 30 x 40 cm.

P A S C A L A N C E L B A R T H O L D I

Born in Paris, living, working and researching in London. Independent freelance press agent, Writer, photographer, artist. Completed a fine art Degree in 2000 and an MA photography in 2009. Having abandoned painting, finding in it an escape from reality, photography enabled him to ground himself in the actual.

His work progressively began to encompass the two ends of this spectrum, allying the imaginary to the senses, mythology to private encounters, history and science to poetry. He curated Edge of Extinction, a Black and white multi media show at Lo & Behold(2011) and Art of Imperfection at Doomed Gallery (2012), an upcoming venue to which he is now committed as a curator and a writer.

Ancient art nourishes his research; these are intertwined with the fabric of contemporary visual linguistics. His growing passion for multi media and in particular animated art has resulted in the making of two animation pieces, Anthropofungus Conception, screened in London and Daemon Antarctica through the Eye Glass still in progress. Reviews, short stories, essays poetry are also part of his output, some of which have been published and can be found on the net. His practice revolves around the experience of absolute freedom in creative expression.

Above stills from the cineanimation “ESCHATOCENE, First Scene of the Last Act” 2013, 11:30 mins, stereo. Shown at Moving Streets - Mnemonic City

On the left the photographic installation “ESCHATOCENE”, C Print, 2013each images 30 x 20 cm.

In the Distance of the Land

ZoneX, Ebb and Flow-The Phantom Promise

Winds, voices, gazes move in a strange vortex where memory colludes and collides with its nemesis. Is nature as accidental and strategic as we are? The blackness of the grass after the yellow and the blue heat has engulfed its abode. It smells of burnt flesh,

as if Earth had grown a skin below the threshold. In this place of banal desolation, ruins resemble one another, borne of the mother of progress, aborted by futility. Abandoned struc-tures have a life of their own, and rather than compete with nature seem to become part of it. They have almost been assimilated by it. This circumstantial area is also resonant of a certain unknown nomadic emptiness, a reflection of an internal state of incertitude,

a quiet torment lingering as the eye stretches all around its axis without finding rest. Here or there, one knows not which, we remember this sense of loneliness, a place which cannot be home.

Those semi ruins are like a forgotten language, because the words are broken, taken apart, reassembled hurriedly, then left mute and sour, begging for a history of their own. The solitary builder will attempt to gather the pieces and construct a new meaning.

A phrase that rings differently, perhaps like the distant sound of a deep slow bell under water. The builder of sense will also instill an order made out of chaos, adding motion to the apparent stasis of these dysfunctional structures taking care not to remove or sepa-

rate them from their altered environment. Therein, the dysfunctional immobility of these edifices transforms them into a vestige, in a sense, accidental art. They are the smouldering ends of a langue morte, a dead language. Les mots immobiles d’une conquête

incomplète, the coagulated words of a conquest cold in its bed. Revolution of a stasis, a sideway glance into an uncertain past. The curved rhythm of a frozen semiosis. L’espace ou l’esprit perd le sens du temps. Solidified ghosts, their medium of existence

exudes from finite materials of metal, glass, bricks and mortar incorporated in the organism of an undefined context, or rather a field of human endeavor that has lost the definition by which we had recognized and measured our future. We observe the disintegrating signs of a questionable purpose. We cannot enter those moments; within lies an inaccessible past, like a petrified womb, the illusion

of a glorious achievement contains it. A land awaiting its fate.

La ronde des mots cadavres, the dance of the cadaver words. This is a raft of the Medusa, carrying the forlorn. It will not sink or reach a port.

Zone X, where X stands for the bygone, speaks of an impossible connection, the marriage of the quick and the dead, the unnamable margin where the ebb and flow drag the passengers who marvel at the scene or remain unaware of the para-cultural signs…

forbidden entry, keep out, danger…epitaphs, derelict, condemned, deserted towns. The phantom promise. The land is where we bury the dead, but here the land has been buried beneath the weight of the human past, a past that hardly

reached actuality, or only briefly, sporadically, half heartedly.These objects seem lost in space and lost in time. Like tombs where the name has been scratched out. And even if a name ap-

pears, it will be meaningless to us, it is void of personal memory. At dusk, occasional mists rise. In the penumbra vast cages appear, the bones of olden beasts, gigantic and useless, fallen on an arid plain, starved and alienated. Their carcass stuns us with a frozen power. It is rare to find a window into their flank, let alone a door. They are condemned, uprooted yet ensconced in the plundered soil, the concrete block, the steel armature of urban mortality. We migrate in an endless dance, searching for a point of reference,

a way home. Our gaze loses itself as phantoms appear and dissolve before us.

Copyright © Pascal Ancel Bartholdi 2013

Above: “Errant Knight Divided Self”, 2011, C Print, 50 x 33 cm. On the right: “Construct I”, 2011, C Print, 70 x 46 cm. Both shown at Plato’s Cave - Mnemonic City

In the Distance of the Land

“The dogs were barking when we entered the other side of the world through a wide open gate. It was unassuming, low and easy to climb over. A shape moved before us, receding. It was, I assumed, a man walking ahead. But I lost site of him. The avenue led us

into the landscape. It was wide and reminiscent of Parisian city planning under the reign of Louis Philippe as the Élysée unravelling towards the arch.But here in the twilight, as the smoke rose and lay across broken horizons and mists of silvery shreds covered the stones, no arch beckoned, at least not a visible one. For I felt a sky different from the celestial vault, pressing into the claws of the

earth, the weighed down Cypresses, the dark monestial shrubs. Our steps could be heard crushing thousands of translucent Leuko-cytes, frozen cells containing the momentary language of dusk. If there was a color one could apply to describe this penumbra in-

habited by icy clouds, the deep timbre of a lonely church bell so abhorrent to Rabelais, and the incessant howl and barking of a dog with no name, it must have belonged to the remnant of a painted mountain by Dürer, or to the abysmal interior of a darkened room

by Rembrandt, or perhaps to the shaded surface of a limb half hidden by foliage in a Titian enclave and even to the profound luxuri-ous ocean of a Lapis Lazuli sky by Giotto…yet not in such profusion but melancholy and desolate, the hue drained out of a withering cheek, the mellow tones of a smile seing out into the grayness of a solitary memory. There was no one to call out to, no one to follow. The snow failed to hold the mass of our passage and in this instant of weakness, a trace of the incident was left, a proof, had it been

recorded by any other witness, of our existence at this very point; although no point really exists, let alone retains the motion of an instant. Still, there breathed a different life, here in the ultimate quietness. Tiny flames shone through the colored glass of a myriad

clusters of lanterns left by the bereaved as a reminder of a life that will not be erased, a remembrance, a memento mori , holding fast in the expanse of solitude. And each sepulcher rose out of the dark , like ships lost at sea, lost from view by the natives of the land

until the torches slowly dispelled the asphyxiating thickness of the fog. And before each grave, those minuscule private mausoleums of grief, a narrow bench, sometimes a chair, a garden chair, or a single stool lay waiting for those who still bore the hours of an ab-sence on their back, like a dark heavy bag, one they drag from day to day, not telling any one, keeping silent until they sit here and

once more confide their misery to the mute body of their But time had ceased in our unrelated presence. Too different to be mistaken and yet so similar, my companion was my imperceptible guide. Instinctively, she conceived of a way to the object of our quest. More

so, recalling her own steps, back then, she ushered me into a past I had not known. There was so much space one could wonder if it was not forbidden, a clandestine area removed from all maps, untouched by law and commerce, unseen by mortal flocks. Had we survived or had we fainted into limbo? A sensation of exclusivity and interdiction overwhelmed me. I was a trespasser yet in full accord with the inhabitants of this land. It was as if I had always been here. As if the silence was my home and the voices of those who had relinquished earthly life had adorned it with their murmurs, the impression of

a tune intertwined with the glacial atmosphere slowly piercing my bones.”

Copyright © Pascal Ancel Bartholdi 2011

Above: “Moirai”, 2013, mixed material. Shown at Inbter-Scape - Mnemonic City

R É K A F E R E N C Z I

Born in 1987, Réka Ferenczi is a Hungarian artist, currently a student at the Royal College of Art’s Fine Art Master’s programme and a graduate of the Hungarian University of Fine Arts in Budapest.

Exhibited in Hungary, Austria and in the UK, her work is exploring the connection of an artist to their artwork, and the origins of the artistic inspiration throughout her Hungarian background.

“…Thread Softly Because you Thread on my Dreams”, 2013, paint and egg shells. Shown at Inter-Scape - Mnemonic City

“…Thread Softly Because you Thread on my Dreams”, 2013, paint and egg shells. Shown at Inter-Scape - Mnemonic City

Two paintings fom the series “In Search of...”, 2013, mixed material. Shown at Inter-Scape - Mnemonic City

Two paintings fom the series “In Search of...”, 2013, mixed material. Shown at Inter-Scape - Mnemonic City

Above “Untitled #23”, 2013, mixed material. Shown at Moving Street - Mnemonic City

R O D R I G O C É S A R

Rodrigo Cesar born in Portugal 1978.He is a London based artist working in a variety of media, with the use and juxtaposition of appropriated and found materials that are extracted from a day-to-day context.

His work originates as resistance to the logic of a capital- ist market system, and challenges the binaries we con-tinually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves.

Above “Untitled #23”, 2013, mixed material. Shown at Moving Street - Mnemonic City

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Above the performance “Market” On the right: “Untitled #14”, 2013, mixed material. Built it as part of the performance. Both shown at Moving Streets - Mnemonic City

Above the performance “Walk on the Pole” On the right: “Untitled #47”, 2013, mixed material. Both performed and shown at Inter-Scape - Mnemonic City

Above the installation “Surreal Buisness Cycle”, 2012, mixed material. Shown at Plato’s Cave - Mnemonic City

R U P E R T J A E G E R

Rupert Jaeger, who is originally from Germany, has been living and producing art in London for over 15 years.

His work revolves around issues of history, cities, places of memory and the reflection of those issues through im-ages as objects.

His preferred media are video, photography and the written word, which are fused into experimental narratives with fictional and documentary elements.

Above the installation “Surreal Buisness Cycle”, 2012, mixed material. Shown at Plato’s Cave - Mnemonic City

On the left the installation “Soll uns Haben”, 2013, digital prints and screen. Above detail of the installation and stills from the video. Shown at Inter-Scape - Mnemonic City

On the left the installation “Nostalgia Machine”, 2012, digital prints and screen. Above stills from the video. Shown at Plato’s Cave - Mnemonic City

S I S E T T A Z A P P O N E

Born is 1984, Sissetta Zappone is a professional printmaker whose work combines etching, lithography, and wood-cut printing techniques.

In 2007, Sisetta graduated in painting and drawing with highest honours from the Accademia di Belle Arte in Flor-ence, Italy. Sisetta then continued her studies at Bisonte International School of Graphic Arts, where she solidified her passion for etching and engraving, earning her MA as a master printmaker. Sisetta subsequently served as an etching teacher’s assistant at Bisonte while learning stone lithography with Master Franco Pistelli.

Sisetta’s work is a study in symbolism and archetypes in both cultural and mystical application. From a meticulous observation of reality, she expresses her personal fascinations through a dictionary of shapes that definitely find their origins in the first millennium.

Finding inspiration from a world ruled by different models and philosophies, she re-invents stories and legends very far away from us in terms of time and space, seeing mythology as a universal language by which to decode human culture and being. Through her archaic imagery and their attached mythos she provokes modern viewers by offer-ing both the old and a new interpretation of our collective and individual experience.

On the left: “Inneres Auge, or a study for the quest of the Third Eye”, 2012, etching and aquatint hand poupee’ printed on cotton. 100 x 70 cm. Shown at Mnemonic City - Madrid

Above: “Hermetic Landscape”, 2012, 39 x 40 cm, etching on paper.On the right: “Cosmic Man Map”, 2012, 90 x 80 cm, etching on paper.

Above: “Oltrarno Map”, 2012, 50 x 70 cm, etching on paper. On the right: “Pescia Map I”, 2012, 50 x 50 cm, etching on paper.

Above still from the video “Commuting: Dark Heart of the Lea”, 2013. 12 mins, Stereo.

W I L L I A M H O W A R D

William is a film-maker, curator, artist and communications designer, with 15 years of experience staging and man-aging film events in the UK and overseas.

He is Director at The Projection Gallery.com, an artists’ film archive and distribution organisation established in 2002, and regularly consults with or selects works for film festivals. These have included BBC Big Screens, Lu-mens Evolution, Liverpool Biennial, Future Everything, Glastonbury Festivals, Toronto Alternative Fashion Week, E17 Art Trail and others.

William is also the orginezer of the well received Lab film Festival, that runs alongside the most attended art festi-val in London, the Hacney Wicked festival in London. He is currently producing a short feature road-movie.

Above still from the video “Commuting: Dark Heart of the Lea”, 2013. 12 mins, Stereo.

Above: “Shanghai I”, 2011, 30 x 20 cm, etching on paper.

Y A S M I N E D A I N E L L I

Yasmine Dainelli is an Italian artist currently lives and works between London and Florence, gratuated with Profes-sor Adriano Bimbi at the Academy of Fines Arts in Florence.

She has a master’s degree in printmaking at the international school of graphic art at the “Il Bisonte”, in Florence.She has participated in numerous exhibitions, such as:“TECHNOHOROS” art gallery, Athens, april 2012.“Medici Gallery of Palazzo Medici Riccardi”, Florence, may 2012.Space “word / image” gallery of contemporary art in Bergamo Gamec, 2010.

She’s been selected for several awards and biennial expositions and she’s the winner of thesecond prize at the three-yearly French exposition “Estampadura” 2013.

Her work is based on a sensory research, through a fresh and instinctive gestures.The high contrast of the blacks and the hard signs thick as scars, allow her to bring to life the surface, through her subjects.

Above: “Shanghai I”, 2011, 30 x 20 cm, etching on paper.

Above: “Louyang I”, 2011, 20 x 30 cm, etching on paper.On the right: “Xi’An I”, 2011, 20 x 30 cm, etching on paper.

Above: “Xi’An”, 2011, 20 x 30 cm, etching on paper.On the right: “Shanghai III”, 2011, 20 x 30 cm, etching on paper.

Above: “Empire”, 2013, 20 x 30 cm, Oil and pencil on Paper.On the right: “Kingsland Road”, 2013, 20 x 30 cm, oil and pencil on paper. Shown at Moving Streets - Mnemonic City

Above: “Empire”, 2013, 20 x 30 cm, Oil and pencil on Paper.On the right: “Kingsland Road”, 2013, 20 x 30 cm, oil and pencil on paper. Shown at Moving Streets - Mnemonic City

On the right: “Man at Work I” and “Man at Work II” 2011, 25 x 12 cm, etching and pastel on paper. Above: “Dalston”, 2011, 30 x 30 cm, etching on paper. Shown at Moving Streets - Mnemonic Streets

Y U R I P I R O N D I

Grow up in the rural hills of Apennines Mountains in Italy, Yuri Pirondi degree as “Master of Art” at the Art Institute “A. Venturi” of Modena in Photography and Visual Arts.

Yuri is a filmmaker and visual artist who lives and works in London, UK. His work is broadcasted, screened and exhibited worldwide on both visual art platforms and film festivals.

His works are a reflection on the relation between visual art and the cinematic experience. Right from the start Yuri has followed a multi-disciplinary and transversal artistic direction in which he collaborates with different artists including composers, writers, performers, experimental theatre and dance practitioners.

On the left: “Void Shades I” 2012, 70 x 50 cm, Photographic Print. Shown at Plato’s Cave - Mnemonic City

Above: “Void Shades II” 2012, 70 x 50 cm, Photographic Print.On the right: “Void Shades V” and “Void Shades IV” 2012, 70 x 50 cm, Photographic Print. Shown at Plato’s Cave - Mnemonic City

Above: “Void Shades III” 2012, 70 x 50 cm, Photographic Print. Shown at Plato’s Cave - Mnemonic City

Void Shades is staged in dark and empty spaces of the city, these areas are outlined by the shadows and the outline of the buildings. They represents empty canvases where is possible to see anything that provoke or stimulate us. This work is inspired by the Allegory of the Cave by Plato, where the prisoners couldn’t move and the only thing that they could see was their own shadows. Void Shades embraces the idea of “container”, transforming the cav-ern in a city, and the shadows of the prisoners in the passersby ones.

On the left the installation shown at Plato’s Cave - Mnemonic City

Above: “Void Shades III” 2012, 70 x 50 cm, Photographic Print. Shown at Plato’s Cave - Mnemonic City

Above, still from the video “Void Shades: London Series” 10 mins. Shown at Plato’s Cave - Mnemonic City

Above stills from the movie “Quest: Prelude” 2013, 13 mins, stereo. Shown at Inter-Scape - Mnemonic CityOn the left: “Island” 2013, 70 x 70 cm, Photographic Print. Shown at Inter-Scape - Mnemonic City

Above stills from the video piece “Arcimboldo’s Borders” 2012, 10 mins, stereo. Shown at Moving Streets - Mnemonic City

Above stills from the video piece “Arcimboldo’s Borders” 2012, 10 mins, stereo. Shown at Moving Streets - Mnemonic City

Arcimboldo’s Borders is a performance and a video piece, born with the idea to explore the reaction and the exchange of personal memories with who lives and works in Ridley Road market, through a theatrical aesthetic.Arcimboldo was a painter of XVI centuries most known for his head portraits, created by assemble fresh fruits and vegetables. Inspired by his style a map of the world interprets the memories of who had to cross the borders to find better life. In Ridley Road Market these borders are merged, every different ethnicity lives and works sharing the same street, trading stories and wishes.The market is the real physical, social and theatrical centre of Dalston, where the gathering of international goods from all over the world track down the cultural ethnic backgrounds of its inhabitants. One of the most shady character of the Commedia dell’Arte is the Doctor of the Plague - he is the guide, a Charonian figure that explores the interaction with the market crowd, creating an itiner-ary through the memories of the passerbys.

Above on the left “Backstage I”, 2013, 50 x 50 cm, photographic print. On the right “Backstage II”, 2013, 60 x 50, photographic print. Shown at Moving Streets - Mnemonic City

Above “Execution of the Kingsland Estate ”, 2013, 100 x 40 cm, photographic print. Next page “Execution in Whiston Road”, 2013, 78 x 40 cm, photographic print. Both shown at Moving Streets - Mnemonic City