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F E M I N A

1june30november

gallery

The personal exhibition F E M I N A by Italian artist, composer, physicist, and university professor Riccardo Giovinetto extends his acclaimed project of the same name, previously featured at renowned festivals like Ars Electronica and L.E.V. Matadero.

Premiering at IOGINALITY, these works share a mathematical vision that delves into the layers of Italian Renaissance masterpieces, particularly Sandro Botticelli's "Primavera. La nascita di Venere" (late 1470s or early 1480s) and Domenico Ghirlandaio's "Portrait of Giovanna Tornabuoni" (1488). Riccardo Giovinetto employs algorithms to uncover the intricate structures organizing works, revealing their poetic and mathematical essences. In the piece LIMINALITY, the generative flow traces the grace in Botticelli's ethereal, shadowless "Primavera", creating a transhistorical dialogue between the idealized image of divine beings and concentric, fractured echoes of "sound sensitive" images. FLURRY's work reveals the image of the goddess and presents her gaze as a central conduit for uncovering the emotional depth behind a Digital aesthetic.

In IVY and IRIS works, built around "Portrait of Giovanna Tornabuoni", Giovinetto explores the detailed realism typical of Ghirlandaio's northern style. The algorithm meticulously palpates the details of the model's costume, recreating them anew and forge new relationships between the painting technique, the artist's gaze, algorithm nature and sonic patterns. 

The screen format of this exhibition allows for an intimate, one-on-one engagement with each piece, where sound forms a crucial part of the spatial and bodily experience. For the best viewing, it is recommended to use a large screen with headphones on and notifications turned off. 

The exhibition finishes with a documentation of a live performance of F E M I N A, adding a dynamic layer to NFTs by integrating interconnected event, sound, and image.

Acknowledgements

LIMINALITY

LIMINALITY explores the idea of grace and the eye that defines it during the Renaissance, that of the painter, who accorded it par excellence to the feminine figure. Echoes of polyphonic choirs are layered into a poetic and intense textural flow and samples of Botticelli’s masterpiece celebrating prosperity, the painting called Primavera, are deconstructed by transforming them into an evolving stream of sound-sensitive images.

The figuration of grace in Renaissance times became the starting point for a study on this aesthetic category and its current possibilities of signification, that translated into a game of entanglements and refractions.
The gazes of Botticelli, fixed on canvas for posterity, and those returned by the portrayed ladies are absorbed in a process that in turn establishes a third gaze, one abstracted in the rules of its own numerical language, though no less communicative.

FLURRY

FLURRY relies on the study of communication between an aesthetic of the Digital as a transparent medium and an aesthetic of the Digital as an unveiled process.Through processing focused samples from Botticelli’s paintings cycle dedicated to the figure of Venus (Primavera, La nascita di Venere), the aim was to establish a connection between the analytical and the creative potential of the Digital.

The echo of polyphonic madrigals within a composition made up of complex textures, drones, glitches, noise and concrete sounds, combined with the digital processing of portions of pictorial works processed into primary graphic elements, particle nebulae and glitches give rise to a stream of audiovisual stimulations within an exchange of expressiveness between past and present. 

IRIS
Domenico Ghirlandaio's Portrait of Giovanna Tornabuoni, dated 1488, and Piero della Francesca’s Portrait of Duca e Duchessa di Urbino (1467) were deconstructed through clouds of noise and then dynamically reconstructed with Delaunay's triangulation. The golden section, dear to Renaissance masters, comes into dialogue with alternative proportions and math principles, which are manageable thanks to the computational power of Jitter’s algorithms. The gazes of painters and those returned by the portrayed ladies are absorbed in a process that in turn establishes a third gaze, one abstracted in the rules of its own numerical language, though no less communicative. Similarly, vocal polyphonies are treated through deliberately exaggerated quantization and resynthesis processing that alters their nature; the resulting samples, while retaining memory of those distant harmonies, are able to relate with the sculptured sounds of electronic music.
IVY

IVY is a reworking of Domenico Ghirlandaio's painting 'Portrait of Giovanna Tornabuoni' - 1488. The patterns of the young woman's dress were deconstructed through clouds of noise and then dynamically reconstructed with Delaunay's triangulation.

Boris Delaunay (1890/1980) was a Soviet mathematician and climber. His study of algebra was always challenged by his passion for mountains. The combination of these passions led him to study mathematical crystallography and general mathematical models of crystals. In this work, the triangulation between thousands of points sampled from Tornabuoni's suit seems to give rise to a flow of shapes that combine the mathematician's passions and resemble crystals and textures that intertwine in a kaleidoscopic flow.

FEMINA

In the last part of the exhibition you can see the documentation of the artist's live performance. This video adds new contexts and dynamics to the NFT collection, which was created specifically for the IOIGNALITY and NFTROME project based on the F E M I N A work.

Thank you for visiting

All the works from this exhibition you can look and buy at the marketplace