Digitalife 2017

7 October – 7 January 2018This exhibition is now closed
Tuesday to Thursday 10am–8pm
Friday and Saturday 10am–10:30pm
Sunday 10am–8pm
Closed on Monday
Full price € 10,00
Reduced price € 8,00
Reduced price ages from 7 to 18 years € 6,00
Children under 7 free admission
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For its eighth edition, Digitalife will be hosted for the first time at the Palazzo delle Esposizioni as part of the new approach promoted by Deputy Mayor appointed to promote the Cultural Growth of Roma Capitale, Luca Bergamo, who sees the Azienda Speciale Palaexpo as the fulcrum of a new hub of contemporary and future art and science, and who has found full and strong support from the Commissioner who is temporarily managing the Azienda Speciale Palaexpo, Innocenzo Cipolletta.

The exhibition program was drawn up together with the curators appointed by the sponsors, Richard Castelli, Raffaella Frascarelli and Adrienne Drake in collaboration with Andrea Bellini, the performances are curated by Massimo Trevisan, Giorgio Fasol and Tommaso Cinti for ArtOnTime, and the scientific side is entrusted to Professor Massimo Bergamasco from the Scuola Sant’Anna di Pisa, together with the performer Stelarc.

In the main section, organised with Castelli, the audience will find themselves in a complex structure of audio- visual architectures and digital environments.

<360> is the title of the new 3D creation by Austrian group Granular-Synthesis, a virtual theatre that overrides the concepts of space and time, enveloping the spectator and carrying them away on a journey into the organic landscape of La Dispersion du Fils, by French Jean Michel Bruyère/LFKs, and the evanescent path created by Croatian artist Ivana Franke in Instants of Visibility, an immersive installation that encourages you to lose yourself. A lyrical and hyper-technological imagery runs through the Memorandum Or Voyage installation by Japanese group Dump Type, alongside the contemporary purgatory represented by Russian group AES+F in their Allegoria sacra. The Phosphor installation, presented at Digitalife in absolute debut, created by German artist Robert Henke specifically for the Palazzo delle Esposizioni, is based on the concept of change: a temporary landscape created by ultraviolet light and continuously transformed throughout the exhibition. Henke also offers the visual concert Lumière III, a high precision laser performance with perfectly synced audio, anticipating Digitalife on 4 October at Teatro Argentina.

The Biennale de l’Image en Mouvement (BIM) by the Centre d’Art Contemporain of Geneva, at the invitation of the Fondazione Giuliani, brings to Digitalife a selection of films, co-produced by In Between Art Film who had their debut at BIM 2016, directed by Andrea Bellini. These 13 titles, mostly never seen before in Italy, explore the centrality of the image in contemporary culture, and will now be on show at the Palazzo delle Esposizioni. A techno-capitalist society, where the symbols of wealth and power are ubiquitous, is the center of The challenge by Yuri Ancarani; in Silent, Pauline Boudry and Renate Lorenz describe silence as a powerful act of resistance; artificial environments, iconic imagery and glimpses of fantasy characterise the short films Genesee and Sioux Rapids by Alessio Di Zio; actress and director, Jenna Hasse puts intimacy on stage through the lives of the two protagonists of Soltar, caught in the midst of a crisis amplified by the surrounding environment; Evangelia Kranioti and Emilie Jouvet deal with the theme of identity in Obscuro Barroco and Aria, shot entirely using a smartphone; The Burial of the Dead by Salomé Lamas captures the images of a Peruvian gold mine, a disorganised and incredibly backwards world that is difficult to believe belongs in the 21st century; Boris Mitic presents A Museum of Nothing(s), a parable about ‘nothing’ illustrated by a single long documentary filmed by dozens of directors all over the world in an anonymous online brainstorming; in Exquisite Corpse, Kerry Tribe follows for 51 minutes the 51 miles of the Los Angeles River revealing the transformation of the landscape, the urban agglomerations, and the various communities; in the short, experimental film Duilian, Wu Tsang attempts to read between the lines of the official narrative about the figure of Qiu Jin, exploring the relationship between this revolutionary poet, who became Chinese national heroine following her execution in 1907, and the calligraphy of Wu Zhiying; in Mangeurs de cuivre by Bodil Furu, the social conflict surrounding the copper mining industry in Congo is animated by the conflicting views of a worker, a businessman and a local chief; Emily Wardill investigates how the present has been defeated by the past, in the documentary I gave my love a cherry that had no stone, set against the architecture of the Gulbekian auditorium in Lisbon.

KizArt, designed by Raffaella Frascarelli for the Nomas Foundation, aims to give younger audiences the tools to build their own artistic vocabulary. The result is a platform created with the direct involvement of personalities from the contemporary art world, where each partner has proposed a video that they see as appropriate for children aged 0 to 14.

For the opening program, KizArt introduces in October The way things go by Fischli and Weiss, suggested by Loa Haagen Pictet (collector); What education for Mars? by Valerio Rocco Orlando, suggested by the artist himself; Reel-Unreel byFrancis Alys, suggested by Francesco Arena (artist); La longue marche du caméléon by Idrissa Ouédraogo, suggested by Alessandra Mammì (art critic); Future Perfect by Miri Segal, suggested by Stefano Sciarretta (collector); Play dead by Douglas Gordon, suggested by Gabriel De Santis (artist); Interlude (introducing dick the stick) by Diego Marcon, suggested by Stefano Rabolli Pansera (architect and curator); Children’s game 12/Sillas by Francis Alys, suggested by Bruna Roccasalva (curator); At death’s door by Moataz Nasr , suggested by Mario Cristiani (gallery owner); The guardians by Adrian Paci , suggested by Beatrice Bulgari (collector); Speak easy by Marinella Senatore , suggested by the artist herself; Anlee by Pierre Huyghe , suggested by Massimiliano Tonelli (journalist); Boing by Patrick Tuttofuoco , suggested by Maria Rosa Sossai (curator).

For the last day of the event on 2 December, the Romaeuropa Festival will be dedicating one day of Digitalife to performance, research, and the spread of scientific knowledge. Prof. Massimo Bergamasco (Director of the Istituto di Tecnologie della Comunicazione, dell’Informazione e della Percezione della Scuola Superiore Sant’Anna di Pisa) and performer Stelarc will be presenting their work in the meeting Where to are we now? Riferimenti contemporanei per l’esplorazione del futuro. The researcher and the artist will try to outline the features of our present, which, between trans-humanism, artificial intelligence, new materials, new digital technologies and new forms of design, is leading us towards the future. This event has a particular strategic value for the Fondazione Romaeuropa, which is setting up a research department on the future, focusing precisely on the relationship between humans and machines.

The dialogue between humans and machines is also the subject of CRACKING DANILO REA, the project by Alex Braga, a versatile artist capable of ranging from music to conceptual art, with pianist Rea, famous for improvisations inspired by everything from jazz to classical and contemporary music. The two artists will be interacting with an A.I. (Artificial Intelligence), built by Braga together with the Faculty of Engineering of the University of Roma Tre, which is designed to learn and predict Rea’s musical improvisations.

Mark Trevisan, with Giorgio Fasol and Tommaso Cinti, will be putting on performances of L’oblio by Julia Krahn and Menelikke by Invernomuto, as part of the ArtOnTime project. Selected by a jury composed of Fasol, Antonio Grulli, Riccardo Lisi and Monique Veaute, the artists will be working with new forms of collection and patronage, in order to overcome the traditional mechanisms and logic of the art market.