Transcript
Speaker: Hello everyone and welcome to Scrapbook, the podcast dedicated to digital art.
Speaker: I'm Michele Colonna and today in studio we have an digital artist, Annibale Siconolfi, known as Inward.
Speaker: Hello Annibale, welcome to Scrapbook.
Speaker: Hello, Michele.
Speaker: It's a great pleasure to be here today.
Speaker: We hope to tell you as much as possible to who follow me as who don't know, to show you what I'm talking about for a few years.
Speaker: And well, especially the four gats that don't even know you.
Speaker: No, no, no.
Speaker: Because in space, we give credit where we have to give credit.
Speaker: I have a name in my list of
Speaker: I'm always happy to have the opportunity to interview artists.
Speaker: I'm always happy to have the opportunity to be able to do it.
Speaker: I'm grateful.
Speaker: I'm enthusiastic and I don't see the time to pass the question immediately.
Speaker: to dig a little bit about what your work is, what your training is, etc.
Speaker: Because, in fact, there is a lot of talk about it and for the audience there is a lot of learning because I consider one of the big space.
Speaker: All right, I'm going to talk about art.
Speaker: But in your case, I think it's important to understand a little context and understand what has been your course and what has influenced this fantastic imagination that is the art.
Speaker: So, if you're going to start from the beginning, I'm going to go through what has been your course.
Speaker: professional, academic, etc.
Speaker: I mean, my journey started many years ago, I was still little when I discovered this passion for the design,
Speaker: I discovered this vocation for art, for creativity.
Speaker: And then I have to say something that not everyone knows.
Speaker: For example, music has always been very important role in my career.
Speaker: I started with the guitar at the age of 10 years old and then, I always brought forward this passion for the design but also for the music, in particular for the sound design that I discovered around 16-17 years old, so the experimentation of sound digital
Speaker: This thing has certainly influenced me on my journey.
Speaker: Obviously, the university experience, the architecture architecture, is certainly the most important experience that has certainly left the sign.
Speaker: But also this experiment in the sound field has opened up
Speaker: new strides, new horizons.
Speaker: And then, all the study, the experiment that I did in the past, of these areas, both artificial and sound design, today converges in what is my work.
Speaker: interesting concepts that I've had to experiment personally.
Speaker: For example, I always take this as an example of the concept of noise, of noise, which is a concept that always returns in my sounds sounds, as in my sounds, as in my art.
Speaker: But there are really many analogies between these aspects.
Speaker: So for me, what I do today is really a natural path, but for me, in this year, I have been working for this year of studies and experiments, especially in the digital field.
Speaker: As I said, the background in architecture is certainly strong, even with the topics that I'm talking about, there is always this strong component of architecture, so you can represent these urban scenarios.
Speaker: for me it was absolutely natural, a consequence of my interests and interests in the field of architectures.
Speaker: So, I made a general picture for a little bit of where I arrived at my work.
Speaker: And then from the point of view of practical and practical experiences, I, after university, I gave me the production of electronic music, so I've been playing for years, I've done DJ set in Europe,
Speaker: In the meantime, I worked in several studies of engineering and architecture, but that experience didn't give any kind of focus to my creativity.
Speaker: I had something that I wanted to express and tell and the office work was in some way
Speaker: not all this was possible, so at a certain point I left my career as a DJ as a working career in the studies to dedicate completely to the study of 3D software, especially after discovering some artists, such as Beeple,
Speaker: which, in which, in which, regarding his work science fiction and cyberpunk, I really struck a lot.
Speaker: And I was in that artist, in that art, a way to express myself, certainly very convincing.
Speaker: And so I began this
Speaker: my great adventure in the world of art digital art.
Speaker: So, it's a key to letture your work that you have to pass through music and architecture.
Speaker: I imagine you've achieved a degree in architecture.
Speaker: Yes, I'm currently in the Order of the Architett.
Speaker: So, I'm an architect, but I work in a sphere more creative.
Speaker: more artistic than the art of art.
Speaker: But I'm a architect to all the effects.
Speaker: I'm curious to know, for the superior, what have you studied?
Speaker: I've been studying a scientific degree.
Speaker: Yes, yes, yes.
Speaker: If I'm honest, I'd prefer the classical, with the sense of you.
Speaker: You tell me why I asked you, because, in fact, seeing your work in your work, there are some prevalent issues that are environmentalists, the concern for the future of humanity, which are going to inform these two jobs.
Speaker: I expected you to see a thought that is a thought that comes from a human preparation.
Speaker: Yes, yes.
Speaker: That's what I'm interested in.
Speaker: I still suffer from some lagoon.
Speaker: It's very interesting to study scientific studies, but it's a
Speaker: But if I'm here today to do what I do, it's been a fundamental step.
Speaker: Even if I'm honest, during those years I prefer to experiment in various artistic fields, then study the materials that I was taught.
Speaker: I don't want to reduce the study in that age, it's important, but the most part of my time I went to do well,
Speaker: And it was certainly that experience that I brought today here.
Speaker: Certainly, but I remember that in scientific science there were also classics, there was literature, there was also Latin, right?
Speaker: Absolutely, yes, yes.
Speaker: They had a minor role compared to scientific materials, but I would say that that part was absolutely integrated, I had good students, so from that point of view I don't regret it.
Speaker: I'm curious to know if it's symbolic of an aspect characterial or something more complex?
Speaker: In reality it's a very simple thing.
Speaker: It's always so.
Speaker: No, no, no, absolutely, because, first of all, I was chosen in young age, I was 19 years old, I was the first year of university, and I remember that at the time I produced electronic music, I had already composed several EP with the name of A&B, so that was a name taken from my
Speaker: But at a certain point I remember an etichetta, I suggested to choose a name more efficient, so to say the truth, this name, I, as I say, I just fell in front of it,
Speaker: When I was in an autobus I was back home from university courses and on the autobus, on the exit door, there was this sign that says that the doors open to the inside and the translation was inward.
Speaker: that point, in fact, we were opening the lamp, also because then the interior world is something that I really fascinates and so... All right, then it's not so bad, but there is a connection with the introspection, so... Yes, yes, yes, it's something that maybe at the time
Speaker: I also undervalued it, but in the last few years I concentrated much on this aspect.
Speaker: That was the interior of life, which was the way to form your work.
Speaker: Absolutely, yes.
Speaker: As far as your work, from my point of view, there is a conflict conflict, integrated, a fear pervasive for what happens in a distant future, not distant.
Speaker: and the fascination of these imaginative worlds that seem rich in possibilities.
Speaker: What do you want to contemplate with these worlds?
Speaker: And then I would like to know what conclusion you've reached in this duality.
Speaker: Because when I see your work, I see this anxiety for a future sovraffollated, sovra-construed, etc.,
Speaker: But there is also a poetry, there is an aesthetic aesthetic, a beauty, almost overwhelming, that takes the sopravventment.
Speaker: So, I wanted to understand this duality here.
Speaker: Yes, yes, yes.
Speaker: Parto subito dal dire che quando ho cominciato a sperimentare questi scenari urbani, distopici, iperpopolati, in realtà ero molto più legato al fattore estetico.
Speaker: I, not so, I, appunto, proven from a kind of world, having had influence in particular that go from writers like Philip Dick to films that have translated this vision like Blade Runner, but also a certain aesthetic that
Speaker: all'epoca utilizzava Bipol nei suoi lavori, poi avendo un background in architettura erano dei fattori che appunto per me erano molto interessanti ma più da un punto di vista estetico
Speaker: even proven from a underground scene, musical speaking.
Speaker: So I predilege this type of aesthetic.
Speaker: What happened during the years is that these works
Speaker: uh...
Speaker: And then at a certain point I realized that I was somehow releasing messages with these views, precisely, so obviously it was a whole period of reflection,
Speaker: I remember a group of students of physics, if I'm wrong, I don't remember which nation, they opened a blog where they were
Speaker: I was able to put in practice concepts that were pure aesthetic, until a certain point.
Speaker: So there w as a whole process of reflection that brought to a certain consciousness of what I wanted to show.
Speaker: I've understood that this kind of aesthetic, of the dystopian, in some way, interests a lot of people, especially those who reflect on the future of our planet, of humanity, and in some way are able to sensitize some of the things like our life, that is
Speaker: So, this is not much of the view of our planet.
Speaker: Manibel, is it a message of optimism or is it a warning of a future that we expect, rather ostensibly, or is it a message of optimism, or is it a message of optimism, or is it a wonderful world, or this world interesting that we attend at a distance?
Speaker: Yes, in my heart,
Speaker: I hope in a future rose in which technology brings benefit and well-being to humanity.
Speaker: These visions also want to be an advertisement, just for our life.
Speaker: I'm convinced that to make some steps back, that can bring to the benefit of this technological evolution that goes in an exponential way.
Speaker: It's a fear, it's a fear that only with time we will see, but there are certainly paths to salvage what is the ecosystem, what is the future of the next generations.
Speaker: Yes, indeed, this aesthetic that I use, these views, these concepts are certainly warnings that I like to represent.
Speaker: So there is a certain concern
Speaker: for the direction we are taking as a human race.
Speaker: Yes, there is a certain concern.
Speaker: I am the first favorable to new technologies, but something that I'm afraid is just this typical characteristic of technological evolution that is absolutely exponential
Speaker: So, okay, okay, we're all good, we're all good to see new discoveries, until these discoveries bring us a real benefit, and, as I say,
Speaker: I've heard of the integration of artificial intelligence within the conference.
Speaker: It seems so that we are putting top on top on something that has no control.
Speaker: When in reality the human being is made for...
Speaker: to have a human relationship.
Speaker: So these are the things I criticize with my work.
Speaker: Infatti, mi sono sempre chiesto, mirando i tuoi lavori, di uno degli abitanti di queste strutture fantascientifiche qua, perché sai, c'è una presenza minima, se non addirittura zero, di persone, insomma, di individui, cioè praticamente un...
Speaker: an urban discourse, architettonic, the human factor is not considered or considered, so I'm going to imagine what could be the potential state of the animus of who lives in these structures.
Speaker: Yes, yes, but well, obviously,
Speaker: Some representations are also surreal, if we want, because we don't have the technology to do it.
Speaker: Yes, but one can try it, but it's an interesting exercise because it's a effort to imagine what it is.
Speaker: Yes, I like to bring to extreme consequences of the concept, so that it is not in a way real, realistic way.
Speaker: I think this is very efficient and that it will help the consciousness of people, to find themselves in front of these images.
Speaker: Because then, I don't...
Speaker: I don't represent alien forces, I always try to be in some way to be linked to our reality.
Speaker: So probably for that some people are scared by these missions because they are not totally connected to reality and could happen in
Speaker: future remote, so... Yes, of course, imaginable.
Speaker: Immaginable, certainly.
Speaker: It's not an exercise mental, like to say, is to imagine a
Speaker: urban structure to appear like they appear in their work, it's not easy but fattable from the point of view of imagination.
Speaker: But Anibal, could you say that your work is a tentative to solve some of the main problems that are in the human being through a key architect?
Speaker: Yes, certainly.
Speaker: I believe a lot in architecture.
Speaker: But it's to say that architecture doesn't always bring benefits, doesn't always, let's say,
Speaker: Remember that architects have worked for dictators, for tyranny, just to work with the imagination of which these characters had needed.
Speaker: in a way we have to do well things because architecture for me has always brought benefits what I think is that then there is also to say that architecture is evolving with society with technology it is not something that is linked to this so obviously things that go from the path but I think very much in the
Speaker: I prefer to look at an architect as a professional that tries to re-qualify, not to build new.
Speaker: In a certain certain certain building, it is more logical to work on the re-qualification, more than to add, to build, to continue to inquinate a building.
Speaker: our planet, which is already in part saturn.
Speaker: So, I know many professionals who work in that sense, architects, which I am, among whom some friends, who do this work of research and re-qualification of the existing
Speaker: So, yes, certainly architecture could bring benefits, but when made with a certain logic,
Speaker: And when I observe these structures mastodontic and magistrali in your work, I imagine that it is almost a effort to try to address the problem of the over-affolation, for example, of a future that is behind the angle, to say, to the path with which we are growing up as a world on Earth.
Speaker: Certo.
Speaker: I imagine you can address that, right?
Speaker: Yes, yes, yes, yes, as I said, I work always on concepts that represent the extreme consequences of what we are experiencing, yes, yes, yes, one of the problems that is more
Speaker: the management of a population more numerous, more than another, more efficient, more consumable.
Speaker: Unfortunately, the consumption brings inquinement, brings production of material that maybe even serves.
Speaker: These are also the consequences of the globalization.
Speaker: We are all consumers, it's a global phenomenon, so to inquinare in a global way is becoming very difficult for the planet.
Speaker: So these megastruttures are the consequence of this overpopulation of megastruttures, of monoliths, of huge proportions, which in some works this
Speaker: compare this human figure that puts in relation to these structures from the scale mastodontic, and therefore the human figure in that context is a number, a formichina, and it doesn't have identity, so these are
Speaker: and concepts that certainly return often.
Speaker: I imagine, almost to remind us of what we were, that human aspect that, with the time, will diminish.
Speaker: Yes, yes.
Speaker: The process of creation, Annibale, does it start from a visual point or there is a concept well defined, a thought, maybe a philosophy aspect of a problem that you can...
Speaker: you can find the results of the results of the results of the results?
Speaker: This depends on the work, not always the same approach, I am one who likes to experiment, so I tend to not repeat the same schemes
Speaker: So it depends a lot.
Speaker: Sometimes I'm influenced by an artist who I've been caught, and then obviously I start from some elements.
Speaker: Other times I experiment completely
Speaker: playing with shapes, especially from architecture, something that I've been deepened, was the study of the shadow, of the ombre, something very important for me.
Speaker: It's what it is called a form of architectonic.
Speaker: There are many types of approaches, some also philosophically but also psychological.
Speaker: As I said earlier, I like to put in relation to a human figure with a mega-structural
Speaker: of a huge scale, and what I try to represent is more than the forms, the composition, the feeling that that human being has to face in front of a scenario of the genre.
Speaker: And from the point of view of the realization of the project, I imagine there is a certain level of complexity in your work that I don't know how long the process is, how long you take to create one of these works, and what is the process of creation?
Speaker: Is there an aspect made at the beginning, which then is introduced in an environment, three-dimensional,
Speaker: Yes, this depends a lot.
Speaker: Sometimes I spend hours drawing skills, part from the physical exercise.
Speaker: And then this is a practice that is very used
Speaker: in the architecture, the preliminary schizzo is something that I have remained, so sometimes it helps me.
Speaker: Other times, I start directly with the composition of the elemental forms directly in the 3D software,
Speaker: And then when this composition makes me convince, as I said earlier, studying the shadows inside the shadows,
Speaker: the composition, once this baseline scheme convince me I begin to detail it and then there is sometimes it happens to unravel everything completely so, when there is a start-up idea is more defined while there is another experimental approach that is what I've done directly
Speaker: But in certain elements, do you have a serialization?
Speaker: Or is it all done with a balcony at a time or a pen?
Speaker: Yes, in reality in the past I used a lot of models of edificia, obviously because
Speaker: I had some need to use them to tell my vision very complex and today digital instruments give us this opportunity.
Speaker: Ultimately, instead, I prefer to use models created by myself.
Speaker: I want to give an impression much more personal.
Speaker: But yes, there are some techniques that allow some of the seriousness of some elements, repetition.
Speaker: These techniques for me are fundamental, as I can see in my work, to popular drastically these scenarios.
Speaker: Anibale, analyzing your work, in particular Civilization 3.0, I have this feeling that we human beings have lost control of the narrative and that there is a new flow of consciousness in the game on a scale much wider than what we are used to today.
Speaker: Are you agree with this?
Speaker: Yes, in reality, I specchio a lot.
Speaker: The concept of that work is just this.
Speaker: Part of the fact that the most important work that I create, don't start with a strong concept of base.
Speaker: It's always after that I arrive the message, me personally, and I can interpret it
Speaker: for nature and let themselves go to the frenzy consumption and maybe in that type of scenario in which millions of people are forced to live in an enormous capsule, I don't know if I can call it so, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a, in a
Speaker: natural light because maybe the atmosphere is completely inquinata so there is a loss of the narration in the sense that we forgot about what planet we are living on the nature of the importance of nature of respect of nature so I repeat these are amazing images obviously I
Speaker: I would never wish in my life that future generations can live a scenario of the genre.
Speaker: But as a message, as a concept,
Speaker: I think that it has been removed from different consciousness because even by reading the comments and the messages I received on that particular work I understood that many people are aware of what we are experiencing today
Speaker: for in part, like, how we are moving this pianeta, for in part, is wrong.
Speaker: And not me surprised that that work in particular has to be a little nervous.
Speaker: Yes, yes.
Speaker: But I think that we are an observatory, almost neuter, that we have, without agency, without power, decisionable, or at that point, it seems that we have surpassed
Speaker: Yes, yes, yes.
Speaker: this future without capacity to participate?
Speaker: Yes, in particular that vince a little care of the urban aspect.
Speaker: There is no urban planning, there are some construction in a random way,
Speaker: I see it as small units of habitations, if we want to mention the Corbusier.
Speaker: It's a concept that I've always been afraid of, the minimum unit of habitations, the minimum spaces, which in that context are repeated in a random way, in a little organized way,
Speaker: in a context in which the population and the consumption frenated have brought to that type of
Speaker: of urban form.
Speaker: I wanted to ask you about Hollow.
Speaker: Hollow, right?
Speaker: For me it's a very special meaning.
Speaker: I don't know if you know what you did, but it's the first digital art piece on which I made a bid, I was just entered into space two or three years ago.
Speaker: I remember well.
Speaker: I lost my mind because I didn't know what I was doing at the time.
Speaker: Then we were also in a particular period where we were in full bull, so there was an enthusiasm.
Speaker: It was all that.
Speaker: But the fact that I'm still attracted by that opera, I'm completely, I'm trying to use the right word, almost like a spell, a little bit, because I'm of a beauty, of a depth, very, very, very, very
Speaker: I wanted to tell you if you could tell me what the opera was there, what it meant, how it was in the surface.
Speaker: As I said, I... I have pinned it on my tweet for almost an hour.
Speaker: Yes, I remember it.
Speaker: I remember it very well.
Speaker: As I said,
Speaker: I think that many of my works don't start with a message that I want to provide, a concept.
Speaker: It's a kind of aesthetic that I like.
Speaker: I'm affectionate.
Speaker: And then, I'm going to say, I've noticed that it's a kind of aesthetic that moves, literally, the consciousness.
Speaker: It's a kind of reflection.
Speaker: So this is definitely...
Speaker: But then once finished the work, the great view, the great shadow that is generated under the structure that accoglie the vegetation,
Speaker: I like to think that shadow as the future, the present of the future.
Speaker: It is a certainly a future structure.
Speaker: I don't know if today is possible to do something like that, because below that structure there are some grattacieli, so imagine the dimensions, and it is not a
Speaker: huge scales, but I like to imagine that shadow as the uncertainty of the future.
Speaker: One of my last works, entitled Irreversible, which I created for a Milan show organized by Arteria,
Speaker: It's the same concept, but there is a lot of green structures that bring the benefit of the urban area, and the other they create enormous shadows that I see as a
Speaker: this doubt, this uncertainty about the future, about technological evolution, because only time will tell us if our choices of today will be in some way efficient, will bring benefit.
Speaker: So in Allog I see that kind of concept.
Speaker: I've always imagined if there was a continuation of that glomerate that is under the pier, if it ends at a certain point or if it continues and maybe brings to those other
Speaker: You can create these imaginations, which brings a little imagination.
Speaker: It's what art means to create the art, to create the spunt for the observer to complete or to unify the point.
Speaker: Certo, certo, ma questo è fondamentale.
Speaker: Io guarda, in realtà tendo sempre a non descrivere troppo i miei lavori, perché a me, insomma, affascina l'idea che ognuno...
Speaker: a second of its own form and the world from which it comes, it can be seen something different.
Speaker: In fact, when you have a description provided directly by the artist, the imagination diminishes, so fundamentally
Speaker: I don't want to describe my work because we are talking about art, that they are not technical design, they are not projects, even if, in a small parenthesis, it's been two times.
Speaker: so to try to see the real estate of some of my concepts.
Speaker: For me it was a pure follia.
Speaker: Once I was contacted by a gross entrepreneur,
Speaker: Yes, yes, yes, yes,
Speaker: And then I was just saying that I didn't accept it personally because, I'm not working in the technical field of architecture.
Speaker: I'm not going to be in my... And then I refused.
Speaker: But from what I know, because I was contacted by an architect who works in a studio
Speaker: londinese, that in the mood board of this project there were also my work.
Speaker: I imagine, I imagine.
Speaker: So, this is something that I have left a little bit, as to say.
Speaker: Well, you can do it even like a prophet, because, in fact,
Speaker: No, I'm not going to be surprised if you are living in Dubai or in the desert, one of the two types of places.
Speaker: One thing that I leave a little bit is the fact that I
Speaker: Yes, I represent, I represent, I represent, I mean, maybe in which, let's say, there's another conception of the future, a conception more rosea, but the great majority of my work is a kind of distopical, and then I would like to see these concepts, these things, these concepts, come up.
Speaker: All right, so, that this, Anibale, is it a losing part of these requests, or is it a real horror, in fact,
Speaker: It's a mix of emotions and emotions that are really contrasting.
Speaker: In part, it's obviously a pleasure that these things are taken into consideration, because a few years ago I didn't imagine something like that.
Speaker: I would say,
Speaker: I'm of a calm origin, I'm born and grew up in a camp of 800 years where after the Roman experience I returned to live and where I found inspiration for what I do.
Speaker: One can imagine that I live in Hong Kong but in reality I'm
Speaker: in a country camp and so to see all this interest for my work is certainly incredible.
Speaker: It's a little bit of contrast, right?
Speaker: the everyday reality and these worlds that you can demonstrate?
Speaker: For me, it was just that the fact of being born and born in the green.
Speaker: I, when I come home,
Speaker: I'm going to go to a 100 meters and I'm going to be in a forest, so I'm going to be exterminated.
Speaker: So for me, the natural aspect has always been very important.
Speaker: And having lived in a city like Rome, especially in the years in which I lived in the periphery, there was all that
Speaker: Certo, certo.
Speaker: Sai Anibale, ogni volta che sono a New York, cammino sulla High Line, non so se conosci la High Line, è una ossa, è un parco pubblico che è un percorso ferroviario che è elevato ed è proprio sul lato ovest della città, praticamente circonda l'intera fascia occidentale della città.
Speaker: It's been moved in a park.
Speaker: Every time I go, at a certain point, I go to Little Island, which is in the Hudson's fiume, and I see it from the High Line.
Speaker: I can't even think of your version of the future, which is close to you, because the resemblance to Habitat, which is one of your works,
Speaker: It's a little bit of a park, but the structure is almost gone out of one of your works.
Speaker: I think you consider it a kind of oracle?
Speaker: Absolutely no.
Speaker: But look, there are some great sensibility from that point of view that they really...
Speaker: I consider a lot of prophets, such as Philip Dick.
Speaker: The impression thing is that he told these things already in the 50s, 60s, when computers were the calculator that had a room, not this technology frenated.
Speaker: These characters have had a strong sensitivity to pre-experience, they are surely the oracoli, I take a look at their path, their vision.
Speaker: But I realize that, actually, experimenting this kind of language, I have certainly represented by scenarios that are not so difficult to perceive today, even if
Speaker: we are in a preliminary phase, but I think I can't understand.
Speaker: I simply gave a vision to these writers, to these writers, but before me, obviously, there are many others.
Speaker: For example, a character that
Speaker: who has been quite mentioned, Antonio Santelia, architect of the futurism, we do not have much, especially for us, who use this type of aesthetic, because he was one of the first ones that, in front of this expansion of the industrial cities, did not survive these famous megastructures from the dimensions of the
Speaker: the famous electric central network of Sant'Elia, which then were then taken up in the cinematographic field from Metropolis to Blade Runner.
Speaker: So for me, they were the visionaries.
Speaker: No, but you know, I'm the only one to recognize it.
Speaker: In fact, the last time I was on High Line, I was with two other artists, with other Italian artists, and they were also they, in fact, they also recognized their influence.
Speaker: I'm going to show you the photo.
Speaker: I'm going to show you the photo.
Speaker: Yes, but in reality I haven't visited a project in person, but I remember that in the university it was one of the most discussed projects.
Speaker: So I know it's at least for photography.
Speaker: I hope to visit it the first possible.
Speaker: Do you come to New York for the NFT and NYC next year?
Speaker: No, unfortunately no, because April will be a very impegnatory month for me, so I have different jobs, because then I obviously am part of the world of the NFT, and I
Speaker: It's certainly one of my houses, but also many commissions, which I have a lot of.
Speaker: One of the last works I've done, which I can't even talk about, is the company that is basically the company
Speaker: of Octane, the rendering engine that I use, and then there are other projects that, unfortunately, I think that this year I will be my first visit to New York, because it is the year in which I work with you, so I will have more time.
Speaker: Ah, sarebbe bello vederti, conoscerti in persona, dai.
Speaker: Sì, sì, infatti.
Speaker: Per quanto riguarda il futuro dell'arte digitale, Anibale, come lo vedi e che ruolo pensi di occupare nella sua formazione?
Speaker: Scusami Michele, hai detto nell'arte digitale, credo.
Speaker: L'arte digitale in genere.
Speaker: Ah, ok, ok.
Speaker: Ma guarda, ovviamente come...
Speaker: in continuous evolution.
Speaker: Then, as I said before, I see the progress in an exponential way.
Speaker: From the industrial revolution to today we have seen
Speaker: of the bell to a speed that is always more... so it is difficult to predict the future but obviously today we talk about artificial intelligence this will be certainly a factor or an element that will influence a lot I personally have used it a couple of times but the problem is that
Speaker: I don't find a right application for what I do, in the sense that it takes all the fun.
Speaker: So, you're going to say that you do it almost better than you do it.
Speaker: No, no, no, no,
Speaker: I like to represent some concepts, so obviously, by inserting the right prompt inside the artificial intelligence program, maybe you arrive at that concept,
Speaker: Manca sempre il tocco personale, manca sempre quel dettaglio che vorresti vedere.
Speaker: Io sono ossessionato dai dettagli, quindi è qualcosa che vorrei controllare io, insomma, in qualche modo.
Speaker: Quindi sono molto aperto alle tecnologie, ho sempre avuto un occhio al futuro, un occhio di riguardo al futuro, però...
Speaker: That's what I'm using, I don't use it, I don't know, I can find the application in what I do, but I think that art digital will be influenced by this aspect, certainly.
Speaker: And from the point of view of the storage, in the sense of the number of collectors or participants in space, do you see it as gradual growth, as explosive growth?
Speaker: How do you imagine the future future of art digital?
Speaker: Look, the future... I think it seems a bit... but it's difficult to predict it.
Speaker: I always try to be cautious.
Speaker: But what I see is that after the
Speaker: The first boom of NFT in which there was also a low quality stuff, today there is an attention more to quality.
Speaker: There are subentities of art and studios that are starting to appreciate the digital art.
Speaker: So I think this is what I think about the boom that has a little bit of everything.
Speaker: Today, at least this is my point of view, I think there is more research of quality of what it is that it is.
Speaker: So from this point of view I'm very confident in this.
Speaker: Yes, I'm very sure, because it's almost like the adults who are entering into space, which is almost like to put an order, because there was a lot of people who were also interested in that
Speaker: that were there for other reasons that artistic reasons.
Speaker: Yes, yes, yes, but it's the same feeling that I have described in a very... Yes,
Speaker: I think that art really has the right to express themselves.
Speaker: But at a certain point, the control of quality is important from those who
Speaker: and is able to give a technical judgment.
Speaker: I personally, having studied a lot, having deepened a lot, I have been very clear
Speaker: a particular type of art in which the composition and the details are in first place, there is a study almost scientific, of the representation
Speaker: But I somehow appreciate who improvises.
Speaker: Sometimes an opera of a unique simplicity can transmit more than another that comes from a obsessive study.
Speaker: I would like to know that there were some figures, some figures, some controllors,
Speaker: It's important that there are some critical voices in the space that are there to remind us... For a small parenthesis, and also, as I said, from the musical world, what I'm hearing is that there is more freedom of expression, certainly, thanks to social social media, but...
Speaker: this freedom doesn't have filters in this way we interrompt the study of years and years of the great maestri of the past that have happened and passed the ideas, the work of a linear work that has been done for years and that is now somehow made in doubt I don't know, for me this is a
Speaker: ecco, da correggere, da correggere.
Speaker: Sai, mi hai fatto ricordare, un po' di episodi fa avevo Ivan Quaroni come ospite, e sai, Ivan aveva detto una cosa molto interessante, in cui diceva, sai, facendo riferimento agli artisti, diceva, no, it's my art, my rules, e lui diceva, sì, your art, your rules, but also your consequences, quindi anche le conseguenze di subire una critica, insomma, dove...
Speaker: is justified.
Speaker: Yes, yes.
Speaker: Yes, yes.
Speaker: Yes, yes.
Speaker: Yes, yes.
Speaker: But, yes, yes.
Speaker: Yes, yes.
Speaker: Yes, yes.
Speaker: No, but... Look, on the critique, I'm absolutely d'accord, because then they are sensitive.
Speaker: I personally have grown thanks to the critique, because sometimes maybe even a comment of a
Speaker: of a follower that said, look, this thing is just out of scale, it gives me a strange feeling.
Speaker: I admit that that is an important part that makes you grow and this is something I really appreciate from social media.
Speaker: But obviously if you are a person exposed to the public and create something of low quality, as you say, you can also live the consequences in a serenity.
Speaker: A me seems to be a certain element of maturity in our space in terms of how we tend to not react well to critique.
Speaker: In fact, even from the point of view of the collectionist or maybe of the art critic, there is not a fear but a reticence to express the own.
Speaker: Yes, yes.
Speaker: A fear of a reaction, maybe, I don't know, but it's a fact, this is a fact.
Speaker: Yes, it is and of fact that I also live, I live the same... Yes, the discourse is that maybe there are some characters
Speaker: they believe that comport in this way protects the ecosystem in the end.
Speaker: Brava, yes, yes, yes.
Speaker: In fact, the final result is the contrary, because maybe a traditional collection that wants to reach that world and sees the mechanics, which in reality, thinks two times.
Speaker: Eh, si fanno incoraggiare anche, diciamo, abitudini cattive, no?
Speaker: Sì, sì, sì.
Speaker: Sì, ma infatti è proprio per questo che ti dicevo che nell'ultimo periodo sto vedendo una leggera inversione di tendenza, quindi... Sono d'accordo, lo vedo, lo noto anch'io.
Speaker: Yes, that's why I hope, from that point of view.
Speaker: And what advice would you have for aspiring artists to be digital at the beginning of their career?
Speaker: In particular, those who are committed to exploring social and environmental issues?
Speaker: Yes, first of all, first of all, to be far away from the mode, from the hype,
Speaker: because fundamentally the hype, especially as concept today, is a few months so it is something that can give you satisfaction a short term but it can cause you to find your way
Speaker: So I always recommend it to be a simple thing, but it's really to follow your own heart, to create something that brings satisfaction.
Speaker: And then regarding the messages,
Speaker: Well, this is part of the sensibility of each one.
Speaker: I personally, as I said, started this job, I was concerned more about the aesthetic, I was really fascinated by this, but then,
Speaker: I have been always sensitive to some of the things I've been able to do this with passion and I recommend you to feel free and not follow
Speaker: the mode because, I'm going to say, who wants to leave a sign should create a personal journey, a personal language and then obviously, because then many, sometimes I've received some criticism regarding my work, that were taken away
Speaker: artist but to me the thing is to make me laugh because from that world in the world art evolves, the artists are influenced by other artists so I
Speaker: I'm not a creator, I'm not a creator, I'm not a fan of this thing, I'm referring to beginners,
Speaker: It's important to understand what artist really has left a sign in the heart and in the mind, why it has left, because there is something that you want to do in some way to externize, so don't worry, use that kind of language, make it ten, two hundred times, and at a certain point it will become your own.
Speaker: something that will be original, that will be only your.
Speaker: Great.
Speaker: All right, Nibale, we are at 1 hour and 15 minutes.
Speaker: Fantastic.
Speaker: You're in an hour.
Speaker: Detto questo, chiudiamo con l'ultima domanda che faccio a tutti, che tutti odiano, però io la faccio lo stesso, cioè Anibale tra un anno, Anibale tra cinque anni e Anibale tra vent'anni.
Speaker: Il 22 marzo 2024 dove lo troviamo Anibale?
Speaker: All right, Michele, I really, I'm not sure, but I don't think about my future, but I really like to live in the present.
Speaker: When I tried it, I went in crisis.
Speaker: So, maybe in a year, I would like to bring in a musical project, which I started from a little bit, with friends, a band,
Speaker: Ah, bello, bello, bello.
Speaker: Sì, sì, quindi vorrei conciliare le due cose, no?
Speaker: Quindi magari ritornare ed esibirmi dal vivo e continuare ovviamente nel mio lavoro di ricerca, magari evolvermi, scoprire nuove tecniche.
Speaker: Cioè spero che tra un anno, diciamo, abbia integrato dei nuovi strumenti, nuove tecniche, possa vedere, diciamo, il mio lavoro evolversi, quello sicuramente.
Speaker: I'm curious to know if I begin to do physical objects.
Speaker: It's something that I think often,
Speaker: I don't see it realizable because I'm very much attached to the digital world from when I was a kid.
Speaker: So, for example, one thing I'm curious about
Speaker: I love the NFT, it's just the fact that finally there is a system that gives a real value, but I don't talk about the value of the value of the value,
Speaker: I have a file jpeg, so it's something that I'm really fascinated and it's why I'm entered into this world.
Speaker: Then the Nibali, in 20 years, is...
Speaker: It's really impossible.
Speaker: I don't know, I can't imagine.
Speaker: But I hope to continue to create, even with the age of age, because it's a beautiful thing for me.
Speaker: In part, I think, I'm trying to find the sense of my life.
Speaker: Everyone tries to find an objective, I think.
Speaker: Who knows, who
Speaker: who has never found it who doesn't want to find it for me it's this, it's certainly, no matter the difficulties of life, it's always trying to be creative in any way.
Speaker: No, but it's a fun thing to find the reason to be, to find the passion and to be able to find a job, to be able to find a career, so
Speaker: Anibale, car Anibale, niente, di nuovo, che dirti?
Speaker: Sono infinitamente grato per... Il piacere è mio, chiaro.
Speaker: Come ti ho detto, ci tenevo tanto a sentirti, ad approfondire un po' quella che è la tua arte, quella che è la tua visione, quindi ti ringrazio per aver condiviso il tuo tempo, la tua esperienza.
Speaker: E niente, per gli ascoltatori a casa, niente, vi ringrazio, vi do il benvenuto al prossimo episodio.
Speaker: I'm Michele Colonna, you can find me on Twitter at mcolonna65, I'm mcolonna65, and you can download the podcast, abonatevi and spargete the voice.
Speaker: Alla prossima, ciao a tutti!
