Belinda playing Dido…But Forget My Fate

To comment on the " video - poetic " experiment of Enrico Stiaccini is necessary to clarify the perspective of his research work and his artistic activity, the terms of which are related to the failure to distinguish between a representation and the other. In fact, in respect of the existing forms, the subject of knowledge, who never identifies himself with those, is completely indifferent . Thus, in Stiaccini's work, the destructuring movements evoke the experience of a bizarre progression of complexity "to the shapeless " , with an effect of estrangement. The disruption of the balance is reiterated through a movement of expulsion , without a center of irradiation , which does not allow the sedimentation of the meaning of images and words. So, Stiaccini traces a polychromatic design, a style of construction that reveals the geometry of the soul. The language breaks down: it refracts, it fades his margins , it erodes the boundaries and decentralizes listening . Similarly, the fragmentation of the "narrating subject" causes a shift of temporal perspective which paints jagged landscapes. The voices and images are mere simulacra in rapid succession in a pure play of images without concept. Time and space appear fused: the production of fragments undifferentiated is inscribed, in fact, within an " extra-temporal" time; subjective distortions results in the creation of a magical and imaginary projection . The material is offered in its poignancy and in its rawness : countless possible combinations are uniqueness and specificity of Stiaccini's expressive code . From the point of view of the spectator, the task of understanding becomes uncertain . The observer can't to pinpoint the vision within a narrative frame, albeit momentary or even fictitious ; It is a riddle without solution since the representation has never access to the Meaning that remains as unrepresentable Thought. Betrayal of narrative paradigms, invention and experimentation are the vertices of expression that flow within an aesthetic not related to a composition formally or technically accomplished, but at an acrobatic equilibrium that includes overlays , mergers and transports, decompositions and recompositions. An equilibrium where the ambivalence between attraction and repulsion plays a major role in long-distance dialogue between actor and spectator . http://youtu.be/dRp492pXDQk