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 11.22.03: Patrizia 2003 |
 11.22.03 2003 |
 11.22.03: Ramon 2003 |
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 11.22.03 2003 |
 11.22.03 2003 |
 11.22.03 2003 |
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 Tossico della luce 08.18.00 2003 |
 Tossico della luce 08.18.00 2003 |
 Tossico della luce 08.18.00 2003 |
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 08.16.00 2003 |
 08.16.00 2003 |
 08.16.00 2003 |
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 08.16.00 2003 |
 08.16.00 2003 |
 08.16.00 2003 |
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 Nina 2003 |
 Nina 2003 |
 Nina 2003 |
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 Nina 2003 |
 Nina 2003 |
 Nina view of the installation 2003 |
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 L'intenzione di amare I 2000 |
 L'intenzione di amare: Narciso 2000 |
 L'intenzione di amare IV 2000 |
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 1° studio di architettura e squartamento 2004 |
 1° studio di architettura e squartamento 2004 |
 1° studio di architettura e squartamento 2004 |
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Masbedo are Nicolò Massazza (1973, Milan,
Italy) and Jacopo Bedogni (1970, Sarzana -La Spezia-,
Italy). They live and work in Milan (Italy). Masbedo started their artistic collaboration in 1999 with the common intention to take advantage of the latest technologies used in fine arts in order to structure their artistic research on the mixing of different media such as photography, video, theater and music. At the beginning of 2002 they have closely collaborated with the French writer Michel Houellebecq on an exhibition project inspired by his poetry book titled “Le sens de la lutte”. On this occasion photographs and a video installation had been exhibited first in Rome and afterwards in Milan. During the same year a new project had been started: a big audio-video installation titled 11.22.03 produced by LipanjePuntin artecontemporanea. This time the two artists together with Michel Houellebecq have adapted an original dialogue taken from Rester Vivant, an essay published by the author himself in 1997 (Éditions Flammarion, France). The project gets its title from the entire length of the interactive installation. Basically the whole project is structured on a dialogue between two faces: man and woman (the masculine and feminine sides of the same person) who confess themselves as if naked in front of a mirror. Together with the video projections the installation includes an original soundtrack defined by the composers themselves as a technological Requiem mixing classical choruses and synthetic sounds; three white overalls hanged on a wall inside a dark room, on the overalls projections of caressing hands, bacteria and a digital snowfall are performed. The text, played by important theatre actors such as Ramon Tarés (Fura dels Baus, main actor in OBS) and Patrizia Zappa Mulas, has intentionally been translated into Spanish as far as this language is generally considered more violent and full of passion than any other European language. 11.22.03 is about the importance of the structure in a human body which has made its choice: to survive as a living suicide on the bounderies of life. 11.22.03 concerns indifference, disease, lack of love, death; about being base people to be true and about the quest for truth. Masbedo and LipanjePuntin artecontemporanea first presented this installation on the occasion of ARCO 2003 (Madrid Contemporary Art Fair) where it gained a great success among the public and great attention of the press. Immediately after the same installation had been exhibited in Trieste on the occasion of Masbedo’s first solo show at LipanjePuntin artecontemporanea. In the meanwhile a video documentary, collecting and illustrating the different steps needed to create 11.22.03 and titled 11.22.03: The Backstage , had been produced. The idea of this artistic documentary was born after the production of the video installation 11.22.03. Watching again all that was shot of the backstage, the first audio sensation was to have in front of us something extremely sincere, the recording of intense moments, of fears and of important creative instants. We confess from the very beginning that here a real direction work is non existent, specially because no one of us would have thought that from all of this, story could be produced, therefore this backstage should be watched like a digital eye which has followed step by step the creation of an installed project, like 11.22.03 is. During the editing we purposely decided to maintain that dirty and emotional sensation you may notice during the creative act, we haven’t cancelled any noises or dirty audio, we wanted to eliminate the director’s intention and give as much space as possible to these gathering moments. So this documentary does not have any actors, but only people who spontaneously discuss about the project, starting from the text elaboration in Paris with Michel Houellebecq, to the most important moments with Ramon Tarés and Patrizia Zappa Mulas, to the music recording in the Passion Church in Milano. Obviously this backstage was edited not to become an independent product, but as a second step to the video-installation 11.22.03, maintaining the same "visual taste" all throughout. 11.22.03: The Backstage had then been selected to compete in the video section of the last edition of Locarno Film Festival where it was runner-up in the best video award. The video-installation 10 Insects to Feed (2006) reflects the desire to talk about the dominion of fear in the western society through a filmic process. Like all Masbedo’s videos, 10 Insects to Feed reveals a sharp existentialist feature. In particular in this work together with the aesthetic choice of using a 35 millimetres film with extreme colours (from acid colours to the nearly total absence of colour) an extreme cruelty is added.The work gets its name from the 10 insects that feed themselves with corpses and that we all will nourish before being transformed only in memories and bones. 10 Insect to Feed won a special mention by the critics at the Alpe Adria Film Festival 2007. The video/audio-installation Il Mondo non è un Panorama (2005) is the natural evolution of the last novel by Houellebecq La Possibilité d’une ìle. Maria23, clone of Maria1, is there, in a post-nuclear world where the Neo- Humans are living with no emotions; no laugh and crying, no humor. Like them she can only communicate in a virtual way and suffers for the lack of contact and desire. Il Mondo non è un Panorama has been showned at the group exhibition TIMER at the Nuova Triennale Bovisa in Milan (May/June 2007). |
| MASBEDO - Selected Group Exhibitions | |
2010 |
Arte Fiera, LipanjePuntin, Marco Noire, Bologna (Italy) |
| Draft. Performing Videoart & Music, Palazzo Re Enzo, Bologna (Italy) | |
| In-difesa. , Fondazione 107, Torino (Italy) | |
| Terzo rinascimento, Galleria nazionale - Palazzo ducale, Urbino (Italy) | |
| Still in Motion - The 10th Anniversary, LipanjePuntin artecontemporanea, Roma (Italy) | |
2009 |
Glima. Cutting the Edge section, Miami International Film Festival, Miami, Florida (Usa) |
| Collaudi, Pad. Italia - 53. Biennale di Venezia, Venezia (Italy) | |
| Draft. Performing Videoart & Music, MAMBO, Bologna (Italy) | |
| Teatri possibili, Palazzo Ferrero, Biella (Italy) | |
| InVideo - Senza meta. No Destination, Spazio Oberdan - Cineteca, Milano (Italy) | |
| Melting Cinema, Xister, Roma (Italy) | |
| Art Verona, LipanjePuntin artecontemporanea , Verona (Italy) | |
| Premio Terna 02, Tempiuo di Adriano, Roma (Italy) | |
2008 |
Art39 Basel, Galleria Marco Noire Contemporary Art, Basel (Switzerland) |
| Shapes Of Time, Biennale di Alessandria, Alessandria (Italy) | |
| The road to contemporary art, Terme di Diocleziano, Galleria Pack, Roma (Italy) | |
| Arte Fiera, Galleria Pack, Bologna (Italy) | |
2007 |
Nessuna paura: Arte dell'Italia dopo il 2000, Centro per l'Arte Contemp. Luigi Pecci, Prato (Italy) |
| Sin cuerpo, LipanjePuntin artecontemporanea, Roma (Italy) | |
| Timer. Intimacy, Triennale Bovisa, Milano (Italy) | |
| Collezionami, Città della cultura, Bari (Italy) | |
| Giunglavideo 2007, Villa Toppo Florio, Buttrio, Udine (Italy) | |
| Pav 2007 Inside-Outside, Museo Pav, Berchidda, Sassari (Italy) | |
| Il velo, Il filatoio, Caraglio (Italy) | |
| Essi vivono, Galleria Guidi&Schoen, Genova (Italy) | |
| Melting Cinema, artsinergy, Roma (Italy) | |
2006 |
Art Basel, Marco Noire Contemporary Art, Basel (Switzerland) |
| Collectors 1 - Collezione La Gaia, CESAC Filatoio di Caraglio, Caraglio, Cuneo (Italy) | |
| Start@Hangar Bicocca, Hangar Bicocca, Milano (Italy) | |
| Asociaciones debidas, CAAM Center Atlantic of Modern Art, Las Palmas de Gran Canaria (Spain) | |
| Allarmi: il cambio della guardia, Caserma De Cristoforis, Como (Italy) | |
| Catodica, Teatro Miela - LipanjePuntin, Trieste (Italy) | |
| DA2 Video Collection, Istituto Cervantes, Peking (China) | |
| Biennale delle arti visive - Premio del golfo, CAMEC centro arte moderna e contemporane, La Spezia (Italy) | |
| Cruel Photo, Paggeria Arte, Sassuolo (Italy) | |
| INVIDEO, Mostra internazionale di video e cinema, Milano (Italy) | |
| In competition, Alpe Adria International Film Festival, Trieste (Italy) | |
2005 |
Art Basel, Marco Noire Contemporary Art, Basel (Switzerland) |
| In Progress, 58 Festival Internazionale del Film, Locarno (Switzerland) | |
| La casa encendida, Video mix, Madrid (Spain) | |
| MACRO: nuove acquisizioni, MACRO, Roma (Italy) | |
| Galleria in Galleria, Milano (Italy) | |
| ManifesTo, Torino (Italy) | |
| Barrocos y Neobarrocos. El infierno de lo bello, DA2 Domus Artium, Salamanca (Spain) | |
| Universi audiovisuali. Incontro, MACRO, Roma (Italy) | |
| Galleria in galleria, Stazione della Metro Porta Venezia, Milano (Italy) | |
| Videopolis Film Festival, Padova (Italy) | |
| Entr'acte 2, Casa Pinot Gallizio, Alba (Italy) | |
| Arco, Galleria Pack and Galería Pilar Parra, Madrid (Spain) | |
2004 |
MiArt, LipanjePuntin artecontemporanea, Milano (Italy) |
| Corpo sociale, Galleria Pack, Milano (Italy) | |
| Volume uno: Dinamiche Evolutive, Galleria Pack, Milano (Italy) | |
| Legami. La visione continua, Fabbrica del vapore, Milano (Italy) | |
| MEM Música ex-machina, Festival de música y artes electrónicas, Bilbao (Spain) | |
| 57° International Film Festival, Locarno (Switzerland) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| Artissima, Marco Noire Contemporary Art, Torino (Italy) | |
| Loop Video Art Fair, Galleria Pack, Barcelona (Spain) | |
| Galería Pilar Parra, Madrid (Spain) | |
| Per Amore, Galleria Civica Montevergini, Siracusa (Italy) | |
| Arco, LipanjePuntin artecontemporanea, Madrid (Spain) | |
2003 |
Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) |
| Corpo sociale, Galleria Pack, Milano (Italy) | |
| Gli Altri, gas artgallery, Torino (Italy) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| Flesh for Fantasy, Ex Macelli di Prato, Prato (Italy) | |
2002 |
Sogno e Follia nella fotografia contemporanea, Le bureau des esprits, Milano (Italy) |
| Artissima, LipanjePuntin artecontemporanea, Torino (Italy) | |
| Il cuore, Fondazione Mazzotta, Milano (Italy) | |
2001 |
Erotica mente, Varese (Italy) |
| Interiors, ISAD, Milano (Italy) | |
| Requiem, Lugano (Switzerland) | |
2000 |
Solitude, Istituto Italiano di Cultura, London (England) |
| Solitude, Casa delle Letterature, Roma (Italy) | |
1999 |
MiArt, Fabbrica Eos, Milano (Italy) |
| MASBEDO - Selected Solo Exhibitions | |
2010 |
Masbedo. Schegge d'incanto, Villa Giulia - CRAA, Verbania (Italy) |
| Masbedo, Center for Contemporary Art, Warsaw (Poland) | |
2009 |
M3 Masbedo Marlene Kunz Maroccolo, Spazio Santa Giulia, Torino (Italy) |
| Teorema di incompletezza, Art of the World - Open Care, Milano (Italy) | |
2008 |
L'autopsia del Tralalà, Galleria Marco Noire Contemporary Art, Torino (Italy) |
2007 |
MiArt, Galleria Pack, Milano (Italy) |
| Masbedo: el video e la video installacion...., Reales Atarazanas, Sevilla (Spain) | |
| Masbedo - Houellebecq, CAMA Centro de arte moderno de Almería, Almería (Spain) | |
| CAIRN, Centre d'Art Contemporaine, Digne (France) | |
| Una costante perdirta di magia, Galleria Pack, Milano (Italy) | |
2006 |
Masbedo Houellebecq, CCCB Centro de cultura contemporanea, Barcelona (Spain) |
| Galleria Marco Noire Contemporary Art, Torino (Italy) | |
| Notte 266, Galería Pilar Parra, Madrid (Spain) | |
| Galleria Pack, Milano (Italy) | |
| II Festival de las Artes de Castilla y León, Da2 Domus Artium, Salamanca (Spain) | |
2005 |
Art Brussels, Marco Noire Contemporary Art, Brussels (Belgium) |
| Notte 266 - Pitti Immagine, Rondò di Bacco, Palazzo Pitti, Firenze (Italy) | |
| FIAC, Grand Palais, Paris (France) | |
2004 |
Nina, MACRO, Roma (Italy) |
| Galería Pilar Parra, Madrid (Spain) | |
| Domus Artium 2, Salamanca (Spain) | |
2003 |
11.22.03, LipanjePuntin artecontemporanea, Trieste (Italy) |
| 11.22.03, SAS Studio Albanese, Vicenza (Italy) | |
| 11.22.03: The Backstage, 56° International Film Festival, Locarno (Switzerland) | |
| 11.22.03, 56° International Film Festival, Locarno (Switzerland) | |
| Arco - 11.22.03, LipanjePuntin artecontemporanea, Madrid (Spain) | |
2002 |
Il senso della lotta, Palazzo delle Stelline, Milano (Italy) |
| Il senso della lotta, Palazzo dell'Orologio, Roma (Italy) | |
2001 |
The Last Supper, Fabbrica Eos, Milano (Italy) |
2000 |
L'intenzione di amare, Spazio San Carpoforo, Milano (Italy) |
1999 |
La ragione trasparente, Comune di Aosta, Aosta (Italy) |
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