No Time to Die
A personal exhibition developed in five site-specific works for TanExpo at BolognaFiere, curated by Giacinto Di Pietrantonio, produced and supported by R&P Contemporary Art.
Go over like a lead balloon
↑
Participative multimedia installation
6x2.5m wall, digital drawing print on canvas, digital drawing print on high-wear carpet, graphite on 15x15cm paper, ambient sound, video-animation projection (continuous loop), two-fold brochure distribution
2022
“The first work is a wall projection of monumental dimensions that urges the audience to gather for a collective viewing. On this long wall a series of luminous entities appear and disappear depending on how the natural light filters into the exhibition space. These faint presences were realised by filming a number of people who simulated falling into the void and were then portrayed and animated by the artist's hand using the rotoscope technique. Those immortalised by Sciorilli fall from above like stars, remaining in a state of unreal suspension. They toss and turn in the void finding a dimension of illusory eternity guaranteed by an artifice, namely the looping of the video..." extract from the catalogue text by Carolina Gestri."The first work is a wall projection of monumentals that invites the public to come together for collective viewing. On this long series of luminous entities an apparent wall and a second dimension disappear as natural light filters into the exhibition space. Made from some people's videos simulated falling into the void then portrayed and animated by the artist's hand, with the rotoscope technique. They turn around in the void, finding a dimension of illusory eternity guaranteed by an artifice: the looping of the video." extracted from the catalogue text by Carolina Gestri.
Multimedia installation
Wall 6x2,5m, digital drawing print on 5x5x15cm box, black glass globe, plinth with shrine 50x50x200cm, 11 graphite drawings on 15x20cm paper, a5 flyer distribution7
Relying on the sphere asks us to take the initiative on our idea of faith and hope, because everything is in what we attribute to the amulet: it is our faith in it that charges it with energy.
The formal element of the sphere is also almost an archetype for Sciorilli [...] now, we don't see the marble, and not because it would transform us into a statue of salt, but because it would distract us from its meaning or, better, from what really matters for the artist: the path, not the destination; To stake one's life, not to earn the prize." extracted from the catalogue text by Davide Dall'Ombra.
Participative installation
6x2,5m wall with alcove, digital drawing print on fabric, bottle with digital drawing sticker print label, graphite and crayons on 15x15cm paper, tables, chairs, roll-up digital drawing print 80x200cm, distribution of stapled leaflets a6
“A possibility perpetually postponed; a promise of salvation; the afterlife or an elixir of long life.
And it is the elixir of long life - the protagonist of Danilo Sciorilli's installation - specifically ambrosia - a term of Greek origin made up of the alpha privative, hence negation, and (μ)βρότος, (m)brotos, i.e. "mortal" - the opportunity that Sciorilli offers to escape death, to deny it, to postpone it. Consistent with his poetics, which explores the concept of death - in a dimension that moves between the personal and the collective - Sciorilli invites viewers to reflect on existence and the meaning of its end. Is it possible to postpone death? Yes, Sciorilli tells us; yes, if one decides to believe.
But to believe one can not die is in fact a non-belief in life, it is to believe, as Feuerbach wrote, in the truth of fantasy; for life is in fact such in view of its limit; and living is such in relation to the awareness of having to die. And this is perhaps what Sciorilli wants to communicate” extract from the catalogue text by Linda Fossati.
Ambrosia Booklet
Three-channel video synchro installation
Three red walls 6x2.5m, three video-animations, video in Schlieren photography technique, 3'12''
"Gino De Dominicis is lapidary: what causes death is time. It, with its entropic flow from before to after, causes aging. This is the transience of man: the last step is that thin border that leads directly to the “better life.” The solution is then simple: if one could freeze time, one would not grow old and, remaining still, one would achieve immortality.
Immortality is therefore directly associated - and proportional - to immobility. Almost by oxymoron, but certainly by logic. And art, physiologically immobile and immutable, is a perfect living being, because it is immortal and immutable.
Danilo Sciorilli, aware of this assumption, prefers the staging of our conditions over death: how we behave in front of it, to then create the short circuit that lights up the senses. The irony that permeates the work, the exasperation of social codes in times of mourning and remembrance, allows us to defuse mortal logic by brandishing it from the inside. " excerpt from Federico Palumbo's text in the catalog.
Multimedia installation
Video-animation 3'34'' on led-wall 4.5x2m, black-on-black weave curtain 5.6x2.7m, graphite on backlit perforated board with dimming led 40x40cm
"Franco Battiato rightly said: 'We think we are eternal, this is our misfortune. At school they do not teach us to die; on death, however, the ancient Egyptians built a civilization" (from The intermediate state, dialogue between Gianluca Magi and Franco Battiato, publisher from Piano B). In 'Because all we have is here to be losen', the artist represents the exit from the scene, the spectacular death, probably the most appropriate epilogue suited to a spectacularized life (in the now more than spectacular society of the spectacle). In this sense, the video animation appears dry and peremptory, definitive, unsettling at the end of the brilliant proselytism on immortality developed in the exhibition-fair, yet a note of irony is always present. That bitter and dramatic irony which is, moreover, an important characteristic of the cinematographic source expressly cited by Sciorilli in the work." excerpt from the text in the catalog by Valentina Tebala.
No Time to Die
A personal exhibition developed in five site-specific works for TanExpo at BolognaFiere, curated by Giacinto Di Pietrantonio, produced and supported by R&P Contemporary Art.
Go over like a lead balloon
Participative multimedia installation
6x2.5m wall, digital drawing print on canvas, digital drawing print on high-wear carpet, graphite on 15x15cm paper, ambient sound, video-animation projection (continuous loop), two-fold brochure distribution
2022
"The first work is a wall projection of monumentals that invites the public to come together for collective viewing. On this long series of luminous entities an apparent wall and a second dimension disappear as natural light filters into the exhibition space. Made from some people's videos simulated falling into the void then portrayed and animated by the artist's hand, with the rotoscope technique. They turn around in the void, finding a dimension of illusory eternity guaranteed by an artifice: the looping of the video." extracted from the catalogue text by Carolina Gestri.
A boundless drop
Multimedia installation
Wall 6x2,5m, digital drawing print on 5x5x15cm box, black glass globe, plinth with shrine 50x50x200cm, 11 graphite drawings on 15x20cm paper, a5 flyer distribution7
Relying on the sphere asks us to take the initiative on our idea of faith and hope, because everything is in what we attribute to the amulet: it is our faith in it that charges it with energy.
The formal element of the sphere is also almost an archetype for Sciorilli [...] now, we don't see the marble, and not because it would transform us into a statue of salt, but because it would distract us from its meaning or, better, from what really matters for the artist: the path, not the destination; To stake one's life, not to earn the prize." extracted from the catalogue text by Davide Dall'Ombra.
Ambrosia –
elisir d’immortalità
Participative installation
6x2,5m wall with alcove, digital drawing print on fabric, bottle with digital drawing sticker print label, graphite and crayons on 15x15cm paper, tables, chairs, roll-up digital drawing print 80x200cm, distribution of stapled leaflets a6
“A possibility perpetually postponed; a promise of salvation; the afterlife or an elixir of long life.
And it is the elixir of long life - the protagonist of Danilo Sciorilli's installation - specifically ambrosia - a term of Greek origin made up of the alpha privative, hence negation, and (μ)βρότος, (m)brotos, i.e. "mortal" - the opportunity that Sciorilli offers to escape death, to deny it, to postpone it. Consistent with his poetics, which explores the concept of death - in a dimension that moves between the personal and the collective - Sciorilli invites viewers to reflect on existence and the meaning of its end. Is it possible to postpone death? Yes, Sciorilli tells us; yes, if one decides to believe.
But to believe one can not die is in fact a non-belief in life, it is to believe, as Feuerbach wrote, in the truth of fantasy; for life is in fact such in view of its limit; and living is such in relation to the awareness of having to die. And this is perhaps what Sciorilli wants to communicate” extract from the catalogue text by Linda Fossati.
Ambrosia Booklet
Velocemente viene,
velocemente va
Three-channel video synchro installation
Three red walls 6x2.5m, three video-animations, video in Schlieren photography technique, 3'12''
"Gino De Dominicis is lapidary: what causes death is time. It, with its entropic flow from before to after, causes aging. This is the transience of man: the last step is that thin border that leads directly to the “better life.” The solution is then simple: if one could freeze time, one would not grow old and, remaining still, one would achieve immortality.
Immortality is therefore directly associated - and proportional - to immobility. Almost by oxymoron, but certainly by logic. And art, physiologically immobile and immutable, is a perfect living being, because it is immortal and immutable.
Danilo Sciorilli, aware of this assumption, prefers the staging of our conditions over death: how we behave in front of it, to then create the short circuit that lights up the senses. The irony that permeates the work, the exasperation of social codes in times of mourning and remembrance, allows us to defuse mortal logic by brandishing it from the inside. " excerpt from Federico Palumbo's text in the catalog.
Because all we have
is (t)here to lose
Multimedia installation
Video-animation 3'34'' on led-wall 4.5x2m, black-on-black weave curtain 5.6x2.7m, graphite on backlit perforated board with dimming led 40x40cm
"Franco Battiato rightly said: 'We think we are eternal, this is our misfortune. At school they do not teach us to die; on death, however, the ancient Egyptians built a civilization" (from The intermediate state, dialogue between Gianluca Magi and Franco Battiato, publisher from Piano B). In 'Because all we have is here to be losen', the artist represents the exit from the scene, the spectacular death, probably the most appropriate epilogue suited to a spectacularized life (in the now more than spectacular society of the spectacle). In this sense, the video animation appears dry and peremptory, definitive, unsettling at the end of the brilliant proselytism on immortality developed in the exhibition-fair, yet a note of irony is always present. That bitter and dramatic irony which is, moreover, an important characteristic of the cinematographic source expressly cited by Sciorilli in the work." excerpt from the text in the catalog by Valentina Tebala.