THINKPINK (RUSSIA) – ROAR, 21:20, 2019
watch in PPV
ROAR (rus. “РОКОТ”) is a video installation about the process of searching for identity in moments of personal transformation. The project examines the boundaries of “male” and “female” in modern society, and self-acceptance through the internal and external nature.
An experimental, greenscreen art film inspired by the Central African creator god, Mbombo, who created the world by vomiting it. The two main characters in CREATION are The First One (Night), who suddenly appears out of a void of light – i.e., a Big Bang event – and immediately vomits The Second One (God). The First One hates existence. The Second One loves existence so much that he/she begins vomiting all the parts of the Universe.
SEQUENCE 32 (2017). A feature-length, nonlinear mashup of my research for CREATION, an experimental, greenscreen art film inspired by the Central African creator god, Mbombo, who created the world by vomiting it. There is no dialogue.
The Inner Eyes of Tiresia (12’03 ”) – BODY Festival of Performing Arts, 2019
A fusion of Body Art and narration that brings to life the metamorphosis of the myth of Tiresias, blinded by the gods, on the artist’s body, who in return gave him the power of clairvoyance.
Parade – CORPO Festival of Performing Arts, 2019
The artist recalls the figure of the Warrior of Capestrano, the androgynous figure of the ancient Piceno people, wearing a breastplate faithfully reproduced in crochet. In a circular dance on itself, the artist recalls the dervishes and the Abruzzese folk tradition, weaving a link between old and new, between popular and contemporary art.
Presented in 2009 in Futuroma and Artcevia, in RoseRosse the artist immolates himself to the ultimate sacrifice, tearing his body and voice apart. Devoured, explored, named red roses invade the scene, the artist penetrates them by eating them and suffering their thorns. A sacrificial body immolated to the Act.
A long process of manual release of seeds, from the thorny siliques of the Raphanus sativus (radish) plant, is synthesized, step by step, up to
to the revelation of a message, made of the same substance as vegetable granules.
The artist takes up this aspect and devotes herself to homeland security in a double sense; rites and the military. While the Austria-wide network of radar systems watches over the borders of Austria, the rites and customs preserve traditions and maintain them through constant re-performance.
Our social and private life has undergone a drastic turn towards digitalisation as a consequence of the pandemic that originated at the beginning of 2020. Human contacts now often are replaced by video-chat Zoom or Jitsy.
In this video, I try to show the human experience of loneliness and impotence during their „meetings“ in cyberspace. Even if the light image accurately depicts the person, eye contact is impossible. We look at a screen that shows a simulacrum of some other human being and of ourselves.
In 2020, during the COVID-19 emergency which forced people in isolation into their own home and into social distancing, with no other contacts than the ones mediated by technology, LIUBA decided to devote herself to editing the footage and photos of this performance, aware that in the era of global pandemic these images take on further meaning. The action of embracing a stranger looks like a remote reality, almost impossible to start it again as a social practice, but at the same time there is a strong need to resume this practice as soon as possible, and stronger than ever.”It is incredible to see how much hunger for affection I saw and experienced on my skin during the performance piece.
In old times it was possible to escape the fate that brings bad dreams into your life when you draw the fabulous animal BAKU on your pillow or the wall, or you must shout: BAKU CHI, eat the dream up. This is the Shanghai dream. The dream is of Shanghai changing May into June, July into August and heat into rain until autumn comes in September.
The gloomy aura of the abandoned, nightly streets is underlined in the work. At the same time, taking-away takes a closer look at people’s primordial fear of the darkness – the Achluophobia – which is especially pronounced in childhood. Furthermore, the black wall arouses associations with stage elements and thus increases the stage-atmosphere the places somehow posses.
Footage from the photographic series of Luca Locatelli “Hunger Solutions” – winner of the 2018 edition of The World Press Photo Contest /// Environment /// Stories.
A journey took on for the first time by the human eye through the robotic gaze. Technological evolution as seen by the machine arises as to the only solution for survival in the near future.
Notably disparate Sydney localities. A threaded expanse of colour expands and/or contracts within each portion of the footage. The displaced perimeters of the images redefine their discernment whilst whimsically disclosing their underlying digital fabric.
Dialogue I – IV shows the communication between two people. The project focuses on creating a sketch of the intense exchange between two cultures by using the gaze as the main form of communication. Here “culture” does not mean a person’s origin but the unique cultivation that everyone experiences and makes people individuals.
Stangliro comes from the observation of the film Metropolis by F. Lang. The images of Lang made me reflect on the representations of the masses are characterized by an emphasis impetuous and mono-directional which is opposed to the impotence of the person who does not adhere to this force.
Reassuring and comfortable home rooms witness the catastrophe that is taking place outside the window. The cosy and old-fashioned furnishing promises protection — fabrics are bright, the fireplace is lit, but outside the world is crumbling: in vast and deserted lunar atmospheres the planets collide, the Earth collapses and reverses its rules.