Palazzo Strozzi
  Bill Viola, Christian Nold, Yves Netzhammer
Teresa Margolles, Valerio Magrelli, William Kentridge
Katharina Grosse, Andrea Ferrara, Elisa Biagini
Maurice Benayoun, Antonella Anedda
 
   
  YVES NETZHAMMER
 
   
  The Swiss artist Yves Netzhammer produces digital animated works with human figures and animals. In the numerous short sequences making up the work The Subjectivisation of Repetition, the artist presents a setting composed of essential forms and primary colours but immediately recognisable as reality (a bed, a window, a bare room, electrical light, the moon, the sea, a beach, a killer whale, an aeroplane, a boat and shadows) and one or more characters with highly simplified human features (like anatomical dummies) and black or white skin. These hominids create situations, repeat actions, interact with one another and ‘have’ meaningful and often surrealistic physical experiences, as though dreamt or imagined in a graphic and visual synthesis that, almost incredibly, manages to move the spectator. Netzhammer works on the one hand with extreme reduction of forms and on the other with the enormous
wealth of images and sequences of actions he creates. He seems to be in search of some primary meta-semantics, constantly pursued through the dissemination of meaning or rather the variety of possibilities of meaning. While Bill Viola communicates through an almost film-like sequence of real actors in motion and William Kentridge designs and erases his stories by hand so as to give them real and sequential movement, Netzhammer uses algorithmic calculations to create a lifelike reality in which to visualise his thoughts and short episodes of animation. His video sequences dispense with any complete narrative, presenting fragments of actions repeated in different forms and different narrative contexts, fragments of stories that we are then called upon as spectators to complete out of our own imagination, thus arousing a vast range of simultaneously specific and ambivalent emotions. New forms are generated
out of one another to create a new world that arouses reflection and empathy
in the observer. Spectators succeed in entering this new digital and predominantly symbolic reality in search of something of their own essence, their limitedness and their fragile, vulnerable condition as human beings.
 
 
 
   
 

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