Ebro and Art è il blog di arte sperimentale, creato e gestito dal video artista Andrea “Ebro” Barbarossa. Dalle avanguardie storiche alla digital art. Immagini, video, sonorità, per fissare lo sguardo verso gli sconfinati dinamismi di forme creative e di espressioni estetiche con lo scopo di sollecitare l’interesse nei confronti di tutto quello che è ed è stata la ricerca artistica sperimentale d’avanguardia. by Ebro_official
Wednesday, February 25, 2015
The video art of Ebro - part 1
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Tuesday, February 3, 2015
Zbig Rybczynski - Танго (Tango)
Танго (Tango), by Zbigniew Rybczyński (1980)
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The experimental short video shows thirty-six characters interacting in one room, moving in loops just like alienated monads. Winning of an Academy Awards in 1983, this almost artisanal work inspired later well-known short music videos directors (Michel Gondry for Kylie Minogue’s Come in to My World, Garth Jennings for R.E.M.’s Imitation of Life, Mark Kohr for Green Day’s Redundant — information from No Fat Clips)
Zbigniew Rybczyński, polish filmaker, pioneer of digital animation and HDTV techniques, recalls of the making-of of his work:
“I had to draw and paint about 16.000 cell-mattes, and make several hundred thousand exposures on an optical printer. It took a full seven months, sixteen hours per day, to make the piece. The miracle is that the negative got through the process with only minor damage, and I made less than one hundred mathematical mistakes out of several hundred thousand possibilities. In the final result, there are plenty of flaws, black lines are visible around humans, jitters caused by the instability of film material resulting from film perforation and elasticity of celluloid, changes of colour caused by the fluctuation in colour temperature of the projector bulb and, inevitably, dirt, grain and scratches.”
(Zbig Rybczynski –Looking to the Future – Imagining the Truth,” in FranÐois Penz, Maureen Thomas, Cinema& Architecture. Mþliús, Mallet-Stevens, Multimedia, BFI, London, 1997 )
I would love to see the following diagrams in a larger format. Anyone?
UPDATE:
Thanks from Juan Campanini, we have now two larger diagrams more:
Roger Noake, describing Tango:
“In Tango, Rybczynski exploits this concept of the single offscreen space by filling it with a plethora of actions. It soon becomes obvious that such a small space, that of a small room, could not possibly contain all the actions taking place. Rybczynski also makes critical use of off-screen space, exposing it for the artifice it is. Off-screen space is the imaginary area beyond the edge of the screen, and in front of or behind the camera. There are a number of ways through to off-screen space in Tango – a window and a door in the back wall, doors on either side of the room, and cupboard which also has its uses. Rybczynski orchestrates his entrances and exits with great precision.” (Roger Noake, Animation Techniques, Secaucus, Chartwell Books Inc., 1988.)
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AWARDS:* Oscar - for Best Animated Short Film, Academy Awards® 1983
* Jury Commendation for Experimental Technique and Prize of the Public - Ottawa, Canada 1982
* Best Animation - Tamperee, Finland 1982
* Grand Prize and Prize of the Public - Annency, France 1981
* Grand Prize and Fipresci Award - Oberhausen Film Festival, Germany 1981
* Grand Prize and Prize of the Public - Hueska, Spain 1981
* Main Prize - Cracow Film Festival, Poland 1981
http://www.zbigvision.com/Tango.html
Saturday, January 31, 2015
Angela Loveday
.......... Le donne ritratte, quasi spettrali, sono cariche allo stesso tempo di mistero e di significato. Il gioco di luci ed ombre, la maniacalità nella scelta nei dettagli, gli abiti eleganti e gli scenari che fanno da sfondo non fanno che aumentare questo fascino a cavallo tra il misterioso e il fantastico. ..........
http://www.angela-loveday.com/
http://collaab.it/portfolio/angela-loveday/
Salvador Dalí
Salvador Dalí mastered his draftsmanship skills at an early age.
Dali was fascinated with all aspects of the human form,
many would agree that he could have illustrated medical books.
Dali shows us his genius by combining his incredible technique
with his fabulous double image illusions, here we see three skulls
John Barous 2015 © - Teacher , il Museo di Salvador Dali , San Pietroburgo , FL . (1996-2011)
The Skull Of Zurbaran (1956)
"L'Amour de Peirrot"
"Man/couple with sleeping dog" (1948)
Dali was fascinated with all aspects of the human form,
many would agree that he could have illustrated medical books.
Dali shows us his genius by combining his incredible technique
with his fabulous double image illusions, here we see three skulls
John Barous 2015 © - Teacher , il Museo di Salvador Dali , San Pietroburgo , FL . (1996-2011)
The Skull Of Zurbaran (1956)
"L'Amour de Peirrot"
"Man/couple with sleeping dog" (1948)
Friday, January 30, 2015
Marcel Duchamp
Anémic Cinéma
Anémic Cinéma è un film d'avanguardia del 1926 dell' Artista Marcel Duchamp,
con la collaborazione di Man Ray.
Il titolo del film è un doppio anagramma. Il "cinema anemico" era un cinema privo di senso svuotato, in linea con le idee sovversive del dadaismo.
Il fatto che però venne girato dopo la fine del movimento (che si sciolse spontaneamente nel 1923) lo pone a metà strada tra le avanguardie e il cinema "puro", forse ascrivibile al movimento surrealista.
Il film però, contrariamente al titolo, non è debole, anzi ha la forza di stordire lo spettatore. Leggere le frasi scritte risulta molto difficile, ma quando ci si riesce ecco che il loro senso si rivela beffardo, tipico dell'artista dissacratore.
Il film non ha trama, è composto da una serie di dischi ottici rotanti, alcuni con immagini ipnotiche (cerchi non concentrici, spirali), altri con frasi in francese scritte a spirale.
I dischi in movimento sono in tutto diciannove, dieci composti da figure geometriche e nove con frasi senza senso ("Rotorilievi"), quali giochi di parole e scioglilingua.
Le frasi scritte sono:
- Bains de gros thé pour grains de beauté sans trop de Bengué.
- Bagni di tè grosso per chicchi di bellezza senza troppo Bengué (Bengué o BenGay era un analgesico inventato dal dottore francese Jules Bengué).
- L'enfant qui téte est un souffleur de chair chaude et n'aime pas le chou-fleur de serre chaude.
- Il bambino che poppa è un soffiatore di carne calda e non ama il cavolfiore di serra calda
- Si je te donne un sou me donneras tu une paire de ciseaux?
- Se ti do un soldo mi darai tu un paio di forbici?"
- On demande des moustiques domestiques (demi-stock) pour la cure d'azote sur la Cote d'Azur.
- Si chiedono delle zanzare domestiche - mezzo stock - per la cura d'azoto sulla Costa Azzurra
- Inceste ou passion de famille, à coups trop tirés.
- Incesto o passione di famiglia, tirati a colpi eccessivi
- Esquivons les ecchymoses des esquimaux aux mots exquis.
- Schiviamo i lividi degli eschimesi con squisite parole
- Avez vous deja mis la moëlle de l'épée dans le poële de l'aimée?
- Avete già messo il midollo della spada nella vasca dell'amata?
- Parmi nos articles de quincaillerie paresseuse, nous recommandons le robinet qui s'arrête de couler quand on ne l'écoute pas.
- tra i nostri articoli di ferramenta sfaccendata, raccomandiamo il rubinetto che smetta di colare quando non si ascolta
- L'aspirant habite Javel et moi j'avais l'habite en spirale.
- L'aspirante abita a Javel e io ho avuto l'abitato in spirale
Chiude il film la didascalia "copyrighted by Rrose Sélavy 1926". Rrose Sélavy è lo pseudonimo in abiti femminili di Duchamp
Tuesday, January 20, 2015
Thursday, January 15, 2015
Blooming Zoetrope Sculptures by edmark
This instructable demonstrates and explains a number of different sculptures that animate when they are spun and lit by a strobe light (or are captured by a video camera with a very fast shutter speed).
Let's look at a few examples:What you are viewing in each of videos is a solid 3D printed sculpture spinning at 550 RPMs while being videotaped at 24 frames-per-second with a very fast shutter speed (1/2000 sec). The rotation speed is carefully synchronized to the camera's frame rate so that one frame of video is captured every time the sculpture turns ~137.5º—the golden angle*. Each petal on the sculpture is placed at a unique distance from the top-center of the form. If you follow what appears to be a single petal as it works its way out and down the sculpture, what you are actually seeing is all the petals on the sculpture in the order of their respective distances from the top-center. Read on to learn more about how these were made, and why the golden angle is such an important angle.
*Note: the exact value for the golden angle is irrational. Here it is to five decimal places: 137.50776º
Tuesday, January 13, 2015
Saturday, January 3, 2015
Friday, January 2, 2015
Live performance "[in]material" di Ebro
This is the live performance that Ebro have created and directed
during his solo exhibition of video art "[in]material" di Ebro.
Preview installation for Dubai Art Biennial 2014
Performer Riccardo Costanzi.
Wednesday, December 3, 2014
Edvard Munch - Birgit Prestøe
54 years after: Edvard Munch’s model Birgit Prestøe in front of the picture he painted of her in 1931 (Aftenposten, August 24th, 1985)
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