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Digimag 30 - December 2007/January 2008. Limiteazero, infinite limits

Digimag 30 - December 2007/January 2008. Limiteazero, infinite limits

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Published by Marco Mancuso
Let's consider the rocketing developments in communication and multimedia art (two more and more interweaved fields, despite my purist taste). We can't also forget the increasing path and the international renown got by Limiteazero. I witnessed all their progress as I am a friend of them. So, I thought it was highly time to have a talk with Paolo and Silvio, trying to focus the subjects of our conversation on a couple of keywords characterising their wide range of projects.
Let's consider the rocketing developments in communication and multimedia art (two more and more interweaved fields, despite my purist taste). We can't also forget the increasing path and the international renown got by Limiteazero. I witnessed all their progress as I am a friend of them. So, I thought it was highly time to have a talk with Paolo and Silvio, trying to focus the subjects of our conversation on a couple of keywords characterising their wide range of projects.

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Published by: Marco Mancuso on Feb 07, 2011
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Limiteazero, infinite limits - Marco Mancuso
 
LIMITEAZERO,INFINITE LIMITS
Txt: Marco Mancuso
/ Eng: Claudia Contino
 Digicult got the opportunity to interview
Limiteazero at their beginnings inMarch 2005
. That is to say long ago. At that time, Tiziana Gemin wrote a prettycomplete article about
Paolo Rigamonti and Silvio Mondino
, the twoMilanese designers and architects composing Limiteazero.That was a starting point for those who didn't know Limiteazero's productions andactivity:
. The objectiveof this following lines is to take up the thread of what we were saying.Let's consider the rocketing developments in communication and multimedia art (two more and more interweavedfields, despite my purist taste). We can't also forget the increasing path and the international renown got by
Limiteazero
. I witnessed all their progress as I am a friend of them. So, I thought it was highly time to have a talkwith Paolo and Silvio, trying to focus the subjects of our conversation on a couple of keywords characterising theirwide range of projects. And more precisely: new professionalisms, interaction and relationship among space, citycommunication and hyper-architecture.
Laptop orchestra
represented with its rapt simpleness the short-circuit fora new possible commission-production system connecting enlightened private clients to the professional artist. Thelast aim is the creation of a value-object able to satisfy language needs and hybrid aesthetics having the samedignity in a trade stand (Smau 2005), as well as in a gallery (
the Hublab in Milan and the Mediaruimte inBrussels
). It's maybe with the series
Aspesi Shop, with bb_write for Blackberry and more recently
http://www.digicult.it/digimag/article.asp?id=1060 (1 of 11)06/02/2011 20.00.54
 
Limiteazero, infinite limits - Marco Mancuso
the
 
Reddot
project that made Limiteazero the most important multimedia design studio in Italy . Obviously thistwosome is more famous and valorised outside their homeland rather than inside the tight-mesh net of the little andpoor Italy .They're trying to create an hybrid with the tradition (almost uniquely Italian, not to say deriving from the Politecnico diMilano University, the largest technical university in Italy ) with digital languages, establishing a bridge between thehistorical continuity and modernity, passing through experimentations midway between art and communication anddesign. They're making compromises with private customers (because of the lack of aware institutions), but alwaysremaining coherent to their principles. All their work brought them twice at the
Wired Festival in NY and LA, atthe Cantor Art Musem in Palo Alto , in USA , on request of Google. They also took part to theMilano Made in Design in Shanghai and Beijing
. Not only. They got the opportunity to collaborate withprominent studios such as
Tomato in London , Lab[au] in Brussels and Antonio Citterio & Partnersin Italy
.As I wrote for the catalogue of their personal exposition in the
Hublab gallery in Milan
“ Each of their new worksfirstly distinguishes itself for its beautiful design. Yes, beautiful, pretty for sight, smart in shape, reflecting years ofdesign studies and work in this field as well as in architecture. And this is perhaps one of the elements characterisingthem, i.e. their digital signature. Moreover, Limiteazero don't find interesting the code flux in itself, but rather thedynamics and interactions that it establishes, the virtual world that it seems able to make real, just for a second. Thecircuitable-random value inside a code is not so important for the observation of random as aesthetic distinguishingmark of a machine. On the contrary it is an instrument on hand of the artist who can trigger a chain of black-outs inan apparently perfect binary system. An installation inserted in an environment is not only the excuse for setting up adialogue between man and machine and watching the reactions in space, but it becomes an object of survey for thephysical concretization of an electronics, and therefore immaterial, process. It is the core element of each designer ofinterfaces, author of rational screens for the sensorial (and consequently more direct) interpretation of works.”These features are still present in Limiteazero's further production. They are skilful in showing a refined andunforgettable image for their minimal rarefied aesthetics: how couldn't you appreciate the works
a_mirror or 5pezzi cinetici
? And how is it possible to ignore the sophistication of the relationship between interaction and (realand virtual) space, work and public, the elegance of an uncommon interaction, played according the codes of anemotional spontaneousness.
Paolo Rigamonti and Silvio Mondino
impressed me for their intelligence in understanding limits andpotentialities of the (concrete and electronics) instruments at their hands. Their approach is for sure very far from thetypical techno-enthusiasm, this latter reminding me the scene of the sellers out of the temple in the Holy Bible.They're aware of the huge amount of opportunities offered by digital media in the possible developments in the body-space relationship and in the new fields of the multimedia urban architecture. Not only. They also know the possible
http://www.digicult.it/digimag/article.asp?id=1060 (2 of 11)06/02/2011 20.00.54
 
Limiteazero, infinite limits - Marco Mancuso
content limitations, especially in the visualization of information landscapes of the modern metropolises.
TheLimiteazero showed also here (just have a look at their work for the project of hyper-architecture commissioned by Lab[Au], Spectraum-Dexia Tower in Brussels)
an appreciableaesthetics and planning balance, proposing an “alive”, “sensitive” light and sound system able to establish a closerelationship with places, spaces and people...
Marco Mancuso: I'd like to make this interview a bridge for the description of LImiteazero'sactivity as designers and artists. Your production saw you in the last years characters of theso called new digital art scene in Italy (especially in software art or interaction). Despite thissituation, today you could say that you're playing a wider and multi-sided role. I mean that youcan feel you are in front of an absolutely conscious cross between an artist, a designer andexpert able to tailor their own activity to different situations and clients. How much do youfeel as yours this metamorphosis of artist-expert? how much does it derive from your professional background and how much was it planned?Limiteazero:
We could say that we have shown our natural vocation towards hybrid forms since the beginnings.Yet 10 years ago, when we established Limiteazero, we had in mind a project based on the crisscrossing betweenprofessionalism and different languages, as we felt somehow yet it dealt with a necessity for a system, rather thanbeing a real choice. This system was starting to request wider and more complex planning models. Our ambition, ifwe can call it so, has always been the attempt to hybridize the planning tradition with new media languages.Meanwhile we are also trying to keep a philological continuity, a hypothesis of development able to link the historicalline to contemporaneity. I can't say if we are succeeding, yet when we are told that our works do show a clear sign ofthe Italian design school, when even the tradition of the Politecnico di Milano University, we do feel that somethingmust have worked.This methodology reflects upon a professional activity directly proceeding with the experimental track, or better, uponan experiment path becoming a commercial product, an offer of facilities.
http://www.digicult.it/digimag/article.asp?id=1060 (3 of 11)06/02/2011 20.00.54

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