“[ɪˈmaː.ɡoː]”: a deeper analysis and a first recognition

FINAL PROJECT – SHORT DOCUMENTARY

Advertisements

As stated into my project’s website and previously introduced into my previous articles related to this piece of work, “‘[ɪˈmaː.ɡoː]’ or “Imāgō” is a Latin world with multiple meanings, like image, imitation, representation, ghost, echo, thought, dream, ancestral image and depiction. This short documentary has an important role in my project “I can hear you now”: it is a starting point and a conclusion at the same time, its aim is  to “close a circle”. With an experimental approach, I wanted to generate a dreamlike journey into my mind and my soul, depicting how I perceive, or misperceive, myself, how I see my past and the world. It is a symbolic representation of the process of reliving a trauma, my childhood, my memories, but, at the same time, I tried to symbolically show the sense of liberation from a burden to leave space to a better and unknown future. Suffering is a shared condition and this is represented by a sort of doppelgänger, another woman symbolically sharing some of my experiences, even if in a slightly different way. The visual narration accompanies the interviews released by the Film Composer Elena Maro and the Phychologist and Neuropsychologist Dr Martina Gerbi.” (Marconi, 2018).

Dayana S. Marconi, “[ɪˈmaː.ɡoː]”, Asti/Rome/Los Angeles, April/May 2018. ©Dayana Marconi 2018. Copyright for this video belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

Even if I agree with the great Film Director David Lynch when he says “As soon as you put things in words, no one ever sees the film the same way, and that’s what I hate, you know. Talking—it’s real dangerous.” (Lynch in Lim, 2015), because viewers, thanks to their innate sense of intuition, understand far more than what they are aware of; I realised that presenting my work into an Academic environment I must explain more in details the visual and conceptual decisions made during the creative process.

IMAGO-LOCANDINA-UFFICIALE_and-Laurel_IMdB

Dayana S. Marconi, “[ɪˈmaː.ɡoː]”, official Poster. ©Dayana Marconi 2018. Copyright for this poster belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

The title itself, “[ɪˈmaː.ɡoː]”, wants to be a clear statement of what viewers will face while watching the short documentary: it is not a simple presentation of my project; its aim is to represent, in an experimental and symbolic way, my inner world and a shared situation. It is a combination of different elements: narration, interviews and visual experiments. Each element is connected and follows a precise order.

It starts with a framing of a music box: since the very beginning we can observe a sort of loop, a repetition generated by a taxi cab rotating around the Empire State Building and reinforced by the music score created by the Award Winning Music Composer Elena Maro. What matters here is not the object, but the action itself: Mental Health Disorders, negative emotions, painful memories are something that never disappear completely in someone’s life, their remnants define who we are and often, when we think we “beated our monsters” they can suddenly reappear, since our personalities are forged by our life-experiences. It becomes a sort of never-ending journey. In my specific case, due to Anxiety Disorder, I go through this situation with panic attacks and traumatic recollections: a smell, a word, a sound, even the tiniest thing can cause me a strong inner reaction, often manifested as an “episode”. Like any other individual, I face and fight my problems, but life constantly put us to the test and when we overcome an issue we most likely have to face something else and the loop starts over and over again and this is the reason why the music box works as connection to between the different sections of the short. Of course, I cannot say that this situation affects only those individuals suffering from Mental Health Disorders, it is something that, at different levels, we all experiment: this is why it also works as a vehicle to connect my “doppelgänger” and me. Maybe I could have used a more clear element to present this situation, but in the creation of this documentary I wanted to avoid being too authoritative: I wanted viewers to face its contents on an emotional level and be free to interpret each element of my work according to their personal experience and personality.

Narration and visual narration: images and interviews are spaced out by my personal narrative, intended to explain what is “I can hear you now”, what are its aims and its subject matter. These sections are more descriptive and want to support the audience in facing my whole body of work. During the first part of my speech, we can observe an actual panic attack occurring in front of the camera: at the beginning my intention was to find a way to represent how I feel in those moments but, unfortunately, these episodes are not something I can control or avoid so, with the videomaker Alessio Mattia, we decided to film that situation and introduce “the actual” into the “representation”.

The act of screaming: this is a focal point of my research by images, so I decided to insert a brief sequence in which I was repeatedly screaming in front of a mirror; this because with my project I want to reflect my inner malaise but, at the same time, I want my images to mirror the audience and invite individuals to empathise with “the other” and face, at the same time, a need that probably, at least once in their lives, experienced by themselves. I decided to cover the sound of those screams with the score because my intention was not to be overdramatic, but simply to depict an action so representative in my practice.

Face-manipulation: this element is maybe the most “literal” one. It has been placed, during the editing phase, while the voiceover was explaining that “I must remain publicly impassive” (Marconi, 2018), this is why I decided to force my face in a smile but, at the same time, this is when my “doppelgänger” makes her first appearance to demonstrate that even when I put a smile on my face, there is often  a lot more behind it.

The mentioned “doppelgänger” has a double function: the first one is to represent what I hide inside me, the second one is to represent other individuals living similar situations, even if slightly different or for other reasons. This is why it appears, at first, as part of me and we “split” during the short to subsequently blend again. This is another way to symbolically represent the loop, but in this case its meaning is different: the whole project starts from a personal perspective (my unexpressed inner malaise due to social norms) and ends with me (with the creation of the series “Twelve episodes” in which I portray myself after twelve different panic attacks).

First interview: this has been released by the Psychologist and Neuropsychologist Dr Martina Gerbi. “Dr Gerbi spent some words to explain the relationship between Psychology and Photography, the origins of Art-therapy and the potential of my project and its relation with Mental Health support and investigation.” (Marconi, 2018). Since she provided a psychological interpretation of the benefits that could be generated by “I can hear you now”, I accompanied her speech with images of one of my last shootings, to make viewers understand what is the emotional path my sitters undertake in front of my camera. This last section, then, is further explained by my voiceover.

Flashing-lights and voices’ scene: this is the first one of the “visual experiments” taking place during the short and this is when my “doppelgänger” and I split. The voices are extracted by the video “I can hear you now: four ‘characters’ empathising with the Author”, in which four individuals, forced to stay together into the same theatre-proscenium are unable to communicate among them speaking four different Languages but, at the same time, with their monologue they all communicate with me since they all speak about my personal story. The flashes wants to represents those mentioned traumatic memories that suddenly comes and go, while the voices explain portions of them. Sometimes those memories are so strong that still today I must force myself to keep distance to what I feel, often looking detached or absent. The woman appearing, physically opposite to me, perfectly represent that situation: when I suffer, I often become sarcastic or “over-humorous” because I feel the urge to hide what I feel to others and, in most cases, I want to hide the same to myself. She is my antipodal: while I become more and more absent, looking at those flashes and listening to those voices she appears, becoming stronger and stronger, while she vanishes as soon as I slowly try to take the control of the situation again. Our figures are both blurred, out of focus, to represent that sense of detachment.

This part is the one I define my “Club Silencio scene”, In this David Lynch’s “Mulholland Drive” scene, a magician states “No hay banda! There is no band. Il n’est pas de orquestra! This is all a tape-recording. No hay banda! And yet, we hear a band. If we want to hear a clarinette, listen. … It’s all a tape. It is an illusion.” (Lynch, 2001), and yet, even if sounds and music are pure illusion, the emotions generated into the audience (into the theatre but also in who is watching the movie) are very strong. The two protagonists, two different women like in my case, experience the same strong feelings while listening to the voice of the singer and observe her dramatic performance, even if that is just a recording (like in my case, again). Like Jeff Saporito wrote in his “In ‘Mulholland Drive’ what happened at Club Silencio?”, “Diane’s brain is in shambles, eager to believe that the truths of her existence are not what they are, replacing bits and pieces with a more comfortable narrative. The club reveals to her that self-delusion only works for a while; illusion is temporary, and when the magic ends, the show is over. Such is the case for Diane, as Club Silencio brings her back to a reality she can’t cope with.” (Saporito, 2015).

David Lynch, Mulholland Drive, Club Silencio scene, 2001, Les Films Alain Sarde, Asymmetrical Productions, StudioCanal, The Picture Factory, USA/France. ©David Lynch, 2001.

We filmed the scene on the stage of a deconsecrated church transformed into “Diavolo Rosso” Culture and Art Organisation (and club) and, inspired by the location and by the “Club Silencio” scene, I decided to use red and blue as main colours and those fragments of recorded voices in different Languages.

Second interview: this second contribution has been released by the Music Composer Elena Maro, who “explained how she collaborated with me and her multiple roles during the whole creation of my project, also showing how my images, a visual representation of the pain of others, can be “translated” in sounds.” (Marconi, 2018). Her interview is introduced by a brief sequence extracted from Logic Pro, the program she uses to compose: this to actually show how my images has been transformed in sounds. At the end of her speech, she also provided examples of how she created the score for my project by playing her piano. Since she is located in Los Angeles, we decided she had to film her own interview and be remotely directed by me: I provided her with visual examples of how I wanted her to be framed and I explained what I exactly needed and the scenes has been then completely edited by Alessio Mattia under my supervision.

Doppelgänger takeover: since with this sections I wanted to show that is possible to force viewers to deal with what they observe and generate empathy, I decided to dedicate one entire scene to the woman representing “the other”, viewers and my hidden-self at the same time. In this case, she was the protagonist of the scene, conceptually connected with me by the music box. As stated several times, suffering is a shared condition, but we all suffer in different ways: this is why this scene has been edited in a very different way compared to the previous ones, to enhance the idea of individuality and self-definition. During the shooting and the editing phased, I directed and supervised the scene to recall the photographic body of work created by Francesca Woodman. The black and white is delicate and the scene is intimate but it represents a sense of solitude at the same time.

p020-1-2-1-custom

Francesca  Woodman, Space2, Selection of images, Providence, Rhode Island, 1975-1978 . ©Betty and George Woodman.

Glitch-scene: this section has been inspired by Michael Betancourt’s “Dancing Glitch”, in which the author employed “a variation on the idea of “feedback” where the output of one stage becomes material to be glitched, manipulated and then mixed back into the original raw material” (Betancourt on Otherzine, 2013). I find this video fascinating because it defies and involves, at the same time, emotionally, conceptually and intellectually the audience, asking them to re-evaluate their idea of error. This section is when I am reunited with “the other me”: while trying to relive my lost childhood through a childlike game which became an impossible task due to the medical consequences of my past physical disability, she is still able to recreate that condition, establishing a definitive separation of the “two parts”. It starts with a severe “glitch” accompanied by a loud white noise and images become more and more clear as soon as viewers are asked to look better, to listen and to remember: this to enhance an emotional connection between the observer and the observed. Movements are in slow-motion also presenting some gaps and only at some point their rhythm becomes almost normal. Multiple-exposure wants to create a surreal sensation and music and sounds want to recreate the idea of happy memories and sadness at the same time, this is why babies’ laughs are mixed with a nostalgic music. At the end of this section my “split personality” disappears and I remain alone, confused and exhausted by the physical effort, going closer and closer to the camera, until I am so close that I make everything else disappear.

After the documentary was completed and released online, re-observing this scene I had a strange feeling: it became more and more familiar, like it remembered me of something I could not catch. After a couple of weeks I had a sudden intuition and searching online everything became clear: the influence that David Lynch had on me both on a personal and on an artistic level was so big that I recreated some elements of Twin Peaks Series 1 “picnic scene”.

David Lynch, Twin Peaks, Series 1, Episode 1, Traces to Nowhere, Picnic scene, 1990, USA. ©David Lynch/Mark Frost, 1990.

Of course, this was not made by purpose and yet some coincidences were so evident that I could not deny them. The two scenes are obviously completely different in their quality, contents, editing and meanings, but still the affinity remains, somehow, clear in my opinion.

Self-observation: in this brief section of the video I decided to transform the re-photography technique, analysed during Module 4 with Professor Gary McLeod, into a process of re-observation, this to demonstrate, once more, that the main aim of my project is to push viewers to analyse themselves while observing my still and moving images. Since the very beginning of my practice I opted for an inclusive approach, avoiding to act as a voyeur “regarding the pain of others” (Sontag, 2003). I must admit that at the beginning while watching myself on a screen I was simply curious, but then I started “feeling” what those images meant to me and it has become a bit painful.

Twelve episodes: in this part I presented this photographic series from “I can hear you now” explaining its aims and how I created it. I did not show the final images that have been included into the project’s website at the end of the Itinerary, but the first attempts. Like for the process of selection of the images to be included into a portfolio, I moved those prints on a white table to find the best combination possible. I filmed this section myself with the video camera mounted on a tripod.

Final Scene: since, as previously written, this short was intended as a dreamlike journey into my head and soul, into this final section I was looking completely different, like I became my double itself. Everything previously showed was not real but it was at the same time: it was the inside Vs the outside, the past Vs the present, the Imāgō Vs the actual and yet boundaries do not want to be so defined, because everything that has been represented was an echo and the reality at the same time. Recalling my “Emotional Score experiment #2” video, I had to free myself from a burden and so I started cutting my hair until I had the chance to feel relieved and rest. At the same time, this can be seen as a “cut” from my past-self or a moment of self-abandonment. I wanted to leave the interpretation to viewers since I wanted them to experience this scene, like the whole documentary, at an emotional level, using their own experiences and personalities. Someone will see this as an “happy ending”, someone else will give a more gloomy interpretation to this moment. Somehow, I wanted to represent a sense of relief with my figure vanishing into white and black trees-branches and again this relief can be seen as the moment in which I symbolically passed away due to those traumatic memories also recalled by those recalled child laughs.

And then the music box starts again…

 

LAUREL-PER-INSTAGRAM

The $2 Film Festival 2018, laurel for the official selection of “[ɪˈmaː.ɡoː]” for the category “Short Documentary”.

“[ɪˈmaː.ɡoː]” has been officially selected by “The $2 Film Festival 2018” for the category “Short Documentary”.

 

References:

Betancourt Michael, Dancing Glithc, 2013, USA, video released on Batancourt’s official Vimeo account “Cinegraphic” https://vimeo.com/cinegraphic

Betancourt Michael, The Process of Eupraxis in Making Dancing Glitch, on Otherzine, issue #32, Spring 2013 http://www.othercinema.com/otherzine/the-process-of-eupraxis-in-making-dancing-glitch-2013/

Diavolo Rosso, non-profit Culture and Art Organisation, Asti, Italy, official website http://www.diavolorosso.it/

Lim Dennis, David Lynch’s Elusive Language, on The New Yorker, October 2015 issue https://www.newyorker.com/books/page-turner/david-lynchs-elusive-language

Lynch David, Mulholland Drive, 2001, produced by Les Films Alain Sarde, Asymmetrical Productions, StudioCanal, The Picture Factory, USA/France.

Lynch David, Mulholland Drive, Club Silencio scene, 2001, produced by Les Films Alain Sarde, Asymmetrical Productions, StudioCanal, The Picture Factory, USA/France. Video released on YouTube in 2015 for educational purposes https://www.youtube.com/watch?v=yRpmNgaJ41U

Lynch David/Frost Mark, Traces to Nowhere, Season 1, Episode 1, Picnic Scene, 1990, Lynch/Frost Productions, USA. Video released on YouTube in 2017 https://www.youtube.com/watch?v=hAJti6oAvNM

Marconi Dayana S., I can hear you now – four ‘characters’ empathising with the Author, April 2017, released on Dayana Marconi Vimeo page https://vimeo.com/213764162

Marconi Dayana, I can hear you now – Emotional Score Experiment #2, December 2017, released on Dayana Marconi Vimeo page https://vimeo.com/245894272

Marconi Dayana, [ɪˈmaː.ɡoː], April/May 2018, Asti/Rome/Los Angeles, released on Dayana Marconi Vimeo page https://vimeo.com/269339225

Maro Elena, Award winning composer for film, television and media, official website https://www.elenamaro.com/

Saporito Jeff, In ‘Mulholland Drive’ what happened at Club Silencio?, article released on Screenprism, October 2015 issue http://screenprism.com/insights/article/in-mulholland-drive-what-happened-at-club-silencio

Sontag Susan, Regarding the Pain of Others, 2003, Farrar, Straus and Giroux, New York, USA.

The $2 Film Festival, NY, USA, official website https://www.2dff.com/

Woodman Francesca,  Space², 1975-1978, Providence, Rhode Island  http://www.tate.org.uk/art/artworks/woodman-space-providence-rhode-island-1975-1978-ar00350

Publications: “I can hear you now” project on “Contemporary Art Curator Magazine”

FINAL PROJECT – PROJECT PUBLICATIONS

On May 29th I received an e-mail from the Editorial Assistant of “Contemporary Art Curator Magazine” who had the chance to see my work invited me to submit my project for a publication that will be created and curated by the Magazine itself starting from November 2018. I followed the whole submission procedure and my project has been selected among the 100 artists that will be featured into the book.

IMG_20180704_115557_829

“Dayana Sharon Marconi”, Contemporary Art Curator Magazine, July 3rd 2018 online issue, screenshot. Copyright for the photographs and videos contained by the article belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

The successful submission also allowed me to be featured on their Magazine and they published, on July 3rd 2018, the article “Dayana Sharon Marconi”. I have been asked to present my project “I can hear you now” and I took advantage of this great opportunity to publish not only some of the images related to my last three exhibitions, but also my new production, including the short documentary “[ɪˈmaː.ɡoː]”.

I wanted the article to result complete but not too long, trying to find the right balance between information released and their format, in order to give readers the chance to know “I can hear you now” multifaceted structure, subject matter and origins but, at the same time, avoiding to share too much since, at the end of the dedicated page, I had the chance to share all links related to my body of work, including social media platforms. Like in the case of the article “Introducing: Dayana Marconi”, published on May 5th 2018, by The Falmouth Anchor, I had to adapt contents to their standards, adjusting images and texts in accordance with their requirements.

I must admit that even my aim was to be published, like any other photographers, I was not expecting to be featured by such a Magazine and I think this is an amazing opportunity to launch my project into the public domain, as required by this Final Module.

“Contemporary Art Curator Magazine” will also feature my work on their Instagram and Facebook pages that count thousands of followers and my hope is that this great chance will promote my current practice event outside the Academic environment.

The article is available at the following link: http://www.contemporaryartcuratormagazine.com/home-2/dayana-sharon-marconi

To promote this publication and invite everyone who might have been interested in reading it, I shared it on my social media and into the “News” section of my personal and project’s websites.

 

References:

Contemporary Art Curator Magazine, official website http://www.contemporaryartcuratormagazine.com/

Contemporary Art Curator Magazine, Dayana Sharon Marconi, July 3rd 2018 online issue http://www.contemporaryartcuratormagazine.com/home-2/dayana-sharon-marconi

Marconi Dayana S., official website http://www.dayanamarconiimage.com/

Marconi Dayana S., I can hear you now project’s website http://www.icanhearyounowproject.com/

Marconi Dayana S., “I can hear you now” featured by Contemporary Art Curator Magazine, July 5th 2018 issue, on I can hear you now project’s website, News section http://www.icanhearyounowproject.com/2018/07/05/i-can-hear-you-now-featured-on-contemporary-art-curator-magazine/

The Falmouth Anchor, official website http://www.falmouth-anchor.co.uk/

The Falmouth Anchor, Introducing: Dayana Marconi, May 5th 2018 online issue http://www.falmouth-anchor.co.uk/2018/05/04/introducing-dayana-marconi/

Exhibition 3: “I can hear you now” project at “I am here – here I am”

FINAL PROJECT – THIRD EXHIBITION

“I AM HERE – HERE I AM” ART EVENT AT THE STUDIO, MARKS TEY, ESSEX, UK.

Opening | Event duration – Saturday, July 7th 2018, 5pm‐ 1am.

The Studio – Wishingwell Farm, London Road, Marks Tey, Essex, CO6 1EZ.

 

Created in collaboration with my peer Maryann Morris, “I am here – Here I am”, it will be a celebratory exhibition of transformative works from emerging artists, tackling issues of identity, culture and perception: it will be a dynamic, engaging and participatory event. Rather than organising a classic white box Gallery exhibition, we decided to create a show orchestrated to further represent not only the subject matters of our works, but also our vision.

Alongside the exhibition of our two projects, the show will include a separate area to present the work of the filmmaker Will Wright and it will also involve music projects by other two artists: Ed Sykes and Nathan Wacey, since we decided to create an art-collective that will allow us to engage a continuing collaboration in time.

We decided to “think out of the box”, in this case the classic white box Galleries exhibitions, this is why we opted for a celebration for our art and creativity and the event will include various DJ’s playing throughout the evening.

I AM HERE - HERE I AM_INVITATION

I am here – Here I am, official invitation. Graphic design by Maryann Morris. ©I am here – Here I am, 2018.

I decided to collaborate with Maryann because, as previously stated into my article “Voices of stripped souls”,we both deal with the hidden and with Photography as a tool to investigate human inner world from different starting points and approaching our subject matter from different angles but, in the end, we both narrate private stories, we both portray those naked souls, we both make the audience hear their voices.” (Marconi, 2018), this is why our works perfectly complement each other.

At the beginning, we wanted to create an even including our two projects only, but then we realised that creating an art-collective would not only make dealing with expenses easier, but it will allow us to create an art-network, supporting each other and expanding our possibilities to spread our artistic message and vision even in the future. Each one of us has a different artistic background and area of expertise and being located in two different Countries will permit us to cover a wider geographic area for future events.

This is why we completely revised our previous ideas and set up to adapt it to the new situation. We needed a title that could represent that concept of affirming us in the world of Art and, at the same time, the event’s title had to represent the subject matter of our different projects. “I am here – here I am” was the perfect solution, since it also represents the idea of “a mirror” in which viewers can see themselves while observing “the other”. “I am here”, represents the idea of our sitters, and ourselves, who need to be seen, heard and listened for who they really are; “Here I am” is a statement that wants to make the audience understand our artistic identity and that our intention is to affirm ourselves into the world of Art.

Since we had no chance to meet each other in person to organise the event, we created a private Facebook group to discuss ideas related to the organisation of the whole event and Maryann provided the location. She sent me images of the space in order to allow me to plan the best set up solution for my images and videos.

This slideshow requires JavaScript.

The Studio, snapshots of the location provided by Maryann Morris. Slideshow. ©Maryann Morris, 2018.

I had the chance to discuss with Maryann directly via WhatsApp, phone and social media and we agreed that, being our degree art show, we needed a specific area dedicated to our two projects, maintaining the original idea of the joint exhibition. Having the chance to use a recording studio, connected but separated at the same time from the area in which the “party” will be organised, we will have the possibility to increase the quality of our work involving video and audio materials. The space is organised in two separated and sound-proof rooms and a corridor. Into one room I will project in loop my short documentary “[ɪˈmaː.ɡoː]”, my “Video self-portrait” and my “I can hear you now: Emotional response” videos and a large and comfortable sofa will allow the audience to sit and watch the section of my project involving moving images. Into the corridor, that connects the two rooms, I will re-use the 20x30inches images printed for “Art in Mind” exhibition that Maryann collected from The Brick Lane Gallery Annexe in Shoreditch, London, at the end of the group exhibition. I decided to re-use them to avoid further expenses and because they fit the available space. I will use Velcro again to hang my photographs: in this way we will also save time avoiding to hammer nails into the walls, something that will then require a restoring of the walls themselves. Into the second room, Maryann will display her “Perceptions and Reality” images and the audio equipment will allow her to employ voiceover to narrate her sitters’ stories.

We decided to arrange this celebratory event by invitation only: we created a private event on Facebook in order to invite those contacts in the area who could be interested in our works, we sent invitations via e-mail to curators, galleries’ owners and other professionals in the art-field, we invited our peers, Professors and Tutors.

We are now discussing the last details related to the set up of the event, like printing posters containing a brief Bio and Artist’s Statement in order to make people understand what they are going to experience. We are considering to use the same layout created for the official invitation in order to create a sort of coordinated image for the whole event: in this way, our project will maintain their own identity but, at the same time, they will be connected to the whole event and to the concept expressed by its title. I will also bring the business cards printed exclusively for my project: in this way, the audience will have the chance to visit my website and follow the Itinerary I created as online gallery.

Taking in consideration the available space, and avoiding being “too invasive” with my work since a balance must be maintained in the way we combine our different projects, I am currently discussing with Maryann if there will be the possibility to present, somehow, my “Twelve images” series as well and we are considering a way to combine, once more, our works in this case, too, maybe enhancing the power and the importance of words in our projects.

In my specific case, the expenses related to this exhibition will be related to:

  • Travelling (Rome/London/Rome);
  • Refreshments for the event (divided among all artists of the collective);
  • Refund of the expenses that Maryann faced for the collection of my prints at The Brick Lane Gallery Annexe;
  • Courier from UK to Italy to post my prints at the end of the exhibition.

In relation to the documentation of the event, we can collaborate in the creation of the documentation of the event, but we autonomously photograph and film our own projects for our FMP documentation.

 

References:

Marconi Dayana, I can hear you now project, official website http://www.icanhearyounowproject.com/

Marconi Dayana, I can hear you now, Video self-portrait, March 2017, uploaded on Vimeo https://vimeo.com/208347694

Marconi Dayana, [ɪˈmaː.ɡoː], June 2018, uploaded on Vimeo https://vimeo.com/269339225

Marconi Dayana, I can hear you now: Emotional response, December 2017, uploaded on Vimeo https://vimeo.com/241800018

Marconi Dayana, Voices of stripped souls, article written for Dayana Marconi CRJ, March 2018 issue https://daybydaydayana.wordpress.com/2018/03/26/voices-of-stripped-souls/

Morris Maryann, Perception Vs Reality, images with voiceover https://maryannmorris.wordpress.com/surfaces-and-strategies/portfolio-2/

Morris Maryann, Perception Vs Reality, photographic portfolio https://maryannmorris.wordpress.com/

“I can hear you now” solo exhibition: personal project – personal thoughts

FINAL PROJECT – STREAM OF CONSCIOUSNESS

After one week, tomorrow my “I can hear you now” solo exhibition at Fuoriluogo Art and Culture Residence will end and I must admit that even if it has been very interesting to create the whole set-up by myself, I must admit it has been a quite tough experience, too.

The location is placed in my hometown, where just a few people knew about my issues with Anxiety Disorder and panic attacks. What I have done, it wasn’t just a presentation of my work, it has been a proper “coming out” as well and I have been surprised by the audience’s response. While most of participants demonstrated interest into my project and its subject matter, I had the chance to experience how “disruptive” some individuals might become when they must face “the other” and, possibly, when they don’t know how to appropriately approach those presented topics.

table of activities

Dayana S. Marconi, I can hear you now, solo exhibition at Fuoriluogo Art and Culture Residence, Asti, Italy, June 8th-16th 2018. Table of activities. ©Dayana Marconi, 2018.

For the opening night, I decided to create a “Table of activities”. On one side I placed a series of ten images from a sequence I shot on June 7th, printed on transparent lucid papers and used to create a sort of dummy publication that could show the sitter’s emotional process all at once but that also allowed viewers to observe the images individually by placing a white rigid paper behind each one of them. On the opposite side, I placed fifty 10x15cm photographic prints of my “Confrontation sheets” asking all participants to make the written emotions match with the correspondent portrayed scream. I did not expect a high level of participation, so I was surprised when I saw all those people focusing their attention on those photographs and try to interpret them according to their personal experience. As said, unfortunately not all participants demonstrated the required sensitivity to approach this activity in a constructive way. In two cases, those images have been “vandalised”: instead of trying to empathise with my sitters, these two people draw brown tears on one portrait and horns on another. They did it in front of me laughing and, to be honest, while observing the scene I froze: I wasn’t able to react immediately because I re-lived the sense of sadness I experienced when my Mental Health problems haven’t been taken seriously in the past and I felt sorry for the portrayed individuals at the same time because I felt they have been absolutely disrespected. I was shocked and I thought that the right thing to do in that situation was to try to move on since there were other viewers interested in my work and asking for information.

vandalised confrontation sheets

Dayana S. Marconi, I can hear you now, snapshot of two “vandalised” Confrontation sheets. ©Dayana Marconi, 2018.

The following day, when I collected all those prints to observe the results of my research, I saw them again and I had a very strong reaction. I ripped them off with anger and frustration and I decided to use social media to publicly say a huge “NO” to these kind of behaviours. I expressed all my pain and frustration and I have never done this before in my life, but I felt like I had to protect and defend my sitters. I can only think that this strong reaction was also generated by the fact that this project is so personal that I lived that sort of attack to the individuals I portrayed as a personal attack. That post on Facebook, where I did not mention the involved individuals, engaged a long discussion and I feel grateful to all those people who supported me in that situation. I don’t know if today I would have the same reaction, but at the same time I think it is my right to strongly defend myself, my sitters and my work. These people were not strangers, this is why the situation has been more than painful to me. If I re-observe the whole situation now that I had the chance to react, I must admit that that disruptive act has been useful, at some level, in terms of my research: it demonstrated that the results of my survey were correct.

06-survey

Dayana Marconi, Mental Health and Social problems in relation with Art, April-May 2918, on Survey Monkey. Screenshots of final statistics-chart related to the question “How do you think that who will observe the final images from the mentioned project will react?”. ©Dayana Marconi, 2018.

In this question I asked participants to forecast the audience’s reaction to my work and 9% of answers to “How do you think that who will observe the final images from the mentioned project will react?” (Marconi, 2018) were “They will judge the portrayed people” (Marconi, 2018), while the 4% were “They will be indifferent” (Marconi, 2018). These “negative anticipations” corresponded to a 13% of the total and, since only two people out of 50 images did not “appropriately” participated to the experiment, meaning a 4% of the total, in the end the final result has been more positive than what expected but, at the same time, it was not something completely “out of the blue”.

Analysing the exhibition from another perspective, I found intriguing that more than one participant provided me with an interesting feedback: I have been told that I have been brave since I personally exposed myself so much considering the delicate subject matter, especially when faced in my own city and also considering that the exhibition has been advertised by local press that anyone could read.

This slideshow requires JavaScript.

Dayana S. Marconi, I can hear you now, solo exhibition at Fuoriluogo Art and Culture Residence, Asti, Italy, June 8th-16th 2018. Snapshots of some articles published by “La Stampa”, “Gazzetta d’Asti” and “La Nuove Provincia”, June 8th 2018 issues. Slideshow. ©Dayana Marconi, 2018.

This demonstrates, once more, that Mental Health issues and social problems are, as a matter of fact, still considered as a taboo, something “that must remain untold” (Marconi, 2018) as I stated into my video-documentary. The fact that it is not considered “normal” to publicly discuss these topics demonstrates that the starting point of my research was correct.

In the end, considering both the positive and negative implications, I must say I did the right thing: “I can hear you now” is a project that wants to investigate negative emotions and individuality and that wants to serve as Art-therapy, but there is no healing without being open about my health condition, that was a necessary step, even to be 100% loyal to the aims of my practice.

 

References:

Fuoriluogo Art and Culture Residence, official Website http://www.fuoriluogoasti.com/

Marconi Dayana S., I can hear you now, project’s website http://www.icanhearyounowproject.com/

Marconi Dayana S., [ɪˈmaː.ɡoː], “I can hear you now” introductive video-documentary, Asti/Rome/Los Angeles, 2018. Released on the project’s website on May 2018 http://www.icanhearyounowproject.com/project/imago-starting-point-documentary/

Marconi Dayana, Mental Health and Social problems in relation with Art, April 9th 2018, Rome, survey created on SurveyMonkey https://it.surveymonkey.com/r/LMNZZC5

I can hear you now: old patterns, new images

FINAL PROJECT – NEW IMAGES

While experimenting with new visual solutions, I continued creating long-exposure Sequences and Confrontation sheets since they depict the emotional path which is the focal point of my research. These new images have the same structure of previous images created for these two sections of my project. I sensed it was worth continuing working on those patterns since I did not want to distort the nature of “I can hear you now”, but to expand it with my experimentation.

Creating Sequences is a quite delicate process. While I must balance the number of images generated during the shooting process, all individuals suffer in a different way and the duration of the process of releasing their negativity can vary from one to another. Moreover, during post-production phase I must pay attention not to distort the action that took place in front of my camera: I can adjust light, contrast and colours, but I do not have to modify the original images in any other way.

Confrontation sheets, on the other hand, require a less complicated production: while I still have to make them correspond to Sequences (in their light, contrast and tones) to represent their conceptual relationship, they are made of two portraits only and this makes the process definitely faster. The important thing, in this case, is to make their structure coincide: all Confrontation sheets must see the same distance between images and between them and text, which is created always using the same “handwritten” font. Words must be easy to read but insert as a sort of note, to make them more “personal” and not a sterile way to indicate the negative feelings that a specific sitter is experiencing. Viewers do not have to analyse images with detachment: they have to recall the process of making notes about precious memories they want to preserve, like into a personal journals for instance. They should experience a sort of “intimacy” with the individual they are observing, they should be enable to mirror themselves looking at someone else’s face.

long-exp-screaming-Sheet12_web

“I can hear you now – Confrontation sheet no.12” ©Dayana Marconi 2018. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

I-CAN-HEAR-YOU-NOW_SEQUENCE-18-WEB

“I can hear you now – Sequence 18”. ©Dayana Marconi 2018. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

long-exp-screaming-Sheet13_web

“I can hear you now – Confrontation sheet no.13” ©Dayana Marconi 2018. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

I-CAN-HEAR-YOU-NOW_SEQUENCE-19-web

“I can hear you now – Sequence 19”. ©Dayana Marconi 2018. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

long-exp-screaming-Sheet14-web

“I can hear you now – Confrontation sheet no.14” ©Dayana Marconi 2018. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

I-CAN-HEAR-YOU-NOW_SEQUENCE-20-web

“I can hear you now – Sequence 20”. ©Dayana Marconi 2018. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

long-exp-screaming-Sheet15_web

“I can hear you now – Confrontation sheet no.15” ©Dayana Marconi 2018. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

I-CAN-HEAR-YOU-NOW_SEQUENCE-21_WEB

“I can hear you now – Sequence 21”. ©Dayana Marconi 2018. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

long-exp-screaming-Sheet16_web

“I can hear you now – Confrontation sheet no.16” ©Dayana Marconi 2018. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

I-CAN-HEAR-YOU-NOW_SEQUENCE-22_web

“I can hear you now – Sequence 22”. ©Dayana Marconi 2018. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

 

References:

Marconi Dayana, I can hear you now, project page on Dayana Marconi Image website http://www.dayanamarconiimage.com/project/icanhearyounow/

 

Exhibition 2: Solo exhibition at Fuoriluogo Art and Culture Residence

FINAL PROJECT – SECOND EXHIBITION

“I CAN HEAR YOU NOW” DAYANA MARCONI

SOLO EXHIBITION AT FUORILUOGO ART AND CULTURE RESIDENCE, ASTI, ITALY.

Opening | Private view – Friday 8th June 2018 7pm-10.30pm. At 9pm the video documentary [ɪˈmaː.ɡoː] will be projected in the main hall.

Opening times | FuoriLuogo open Monday-Thursday 7.30am-8pm; Friday-Saturday 8am-1am; closed on Sunday. Exhibition will last until Saturday 16th June 2018.

FuoriLuogo Art and Culture Residence

Via Govone 15, 14100 Asti (AT), Italy.

+39 347 519 4175

http://www.fuoriluogoasti.com/

 

This second exhibition will take place in my hometown, at FuoriLuogo Art and Culture Residence, and will last for seven days.

Dayana Marconi/FuoriLuogo Art and Culture Residence, “I can hear you now” flyer for June 2018 exhibition. Graphic Design: FuoriLuogo Art and Culture Residence. ©Dayana Marconi/FuoriLuogo, 2018.

I decided to organize this solo exhibition in Asti, and in this specific location for different reasons:

  • Having personal connections with FuoriLuogo’s Management, the Art Residence provided me the location, assistance during the set-up and the dismantle phases, assistance during the collection of the prints and prints’ storage for free and local press review (online and offline) allowing me to drastically minimize costs;
  • Being in my hometown, where I portrayed most of my sitters and where I filmed most of my videos, the vast majority of my old and new sitters will be able to attend the event, involving them into my project (once more) with a fresh perspective: the one of viewers. I will also be able to host, during the event, many of my collaborators in order not only to show them the final result of my research they supported in its development, but also to celebrate a sort of “conclusion” of a path we undertook together;

As I have done for the previous exhibition at The Brick Lane Gallery Annexe in London, I had to apply to have the chance to exhibit at FuoriLuogo, even if the process has been completely different. I started to informally present my project, its aims and goals, to the Management team and, once they expressed their interest I presented some visuals to make them better understand what kind of images and videos I produced for the project.

Once they accepted my application, we arranged two meetings to:

  • Present my ideas for the exhibition;
  • Agree how the spaces of the location can and cannot be used during the whole week of the exhibition;
  • Photograph the location in order to present it to Professor McMurdo and to start analyzing its potential;
  • Agree a communication strategy in accordance with my needs and their usual procedures to advert their events;
  • Organise collection, set-up and storage of printed images;
  • Define the spaces in which the written information related to project presentation and activities can be released;
  • Define what materials will be printed directly at FuoriLuogo.

After receiving the booking-confirmation, I had to provide a few images and a brief project description (in Italian) to create a Facebook event in collaboration with FuoriLuogo, flyers and for the press review; a brief project’s description, in Italian and English, that will be displayed on a panel during the whole event; written information (Ita/Engl) related to the interactive parts of the exhibition itself and I also provided some business cards that will be used not only to advert the project’s website, that contains the complete “Itinerary” created for “I can hear you now”: since I want to do something different for this exhibition rather than to recreate the classic white-wall-gallery space (which is definitely not this specific case), my intention is not to create labels for the displayed images but to use the back of some of those cards instead, in order to generate interest in the audience and to make them understand that there is more to be seen.

So far, I met all deadlines and I collected all printed and high-definition video materials but, even if I am not in delay considering my schedule and that this is a location which is more “familiar” to me compared to the previous exhibition, I must admit I am feeling a bit overwhelmed by the whole situation: this is not my first exhibition in Italy and definitely not the first one in my hometown but, on the other hand, Asti is a small city and many people there know me (at different levels, of course) so discussing and showing my project, which is very personal, in front of such an audience is something less easy to be done compared to those situations in which I had to discuss it in front of strangers. I am definitely not an “open” person and I have never discussed my issues related to Anxiety Disorder and Panic Attacks with many friends or acquaintances, even after many years.

As I had the chance to discuss with Professor McMurdo during a 1-2-1 Tutorial in which I presented my plans to exhibit the work done for “I can hear you now” project, most of this solo exhibition will take place on the first floor of the building, while the projection of the video-documentary during the opening night will take place at the ground-floor; however, I am planning to use the grid-walls, of the staircase connecting the two floors, and the glass-walls of the façade to exhibit parts of the imagery, too. At the ground-floor we are discussing the chance to release a very brief and informal artist-speech and there will also be a bar, open day and night during the whole exhibition.

This slideshow requires JavaScript.

Dayana Marconi, scouting-images at FuoriLuogo Art and Culture Residence, Asti, Italy. Snapshots, Slideshow. ©Dayana Marconi, 2018.

Taking in consideration the available spaces, I decided to exhibit the following materials:

  • Ten 20x30cm C-Type Matt prints mounted on 5mm Foamex white substrate and insert into white pass partout, depicting a selection of stills from two different Sequences. Hangs: metal kooks.
  • Two 70x100cm C-Type Matt prints mounted on 7mm Foamex white substrate, depicting the two screams of the same two Sequences. Hangs: transparent hooks and chord.
  • A selection (number to be defined) from the “12 episodes” series, 10x15cm Fujifilm colour/matte prints, mounted (and in some cases mounted on two sides) into white pass partouts. Hangs: transparent hooks and chord.
  • Documentary, projected on white screen during the opening night;
  • Montage of three videos (Documentary + Video Self-portrait + “Emotional Response” video) in loop on a pc-screen DOTATO with two headphones;
  • Three antiqued books containing the words provided by all my sitters to describe their emotional state before, during and after the act of screaming;
  • Fifty 10x15cm “Confrontation sheets” printed on Fujifilm colour/matte paper, that I will use during the opening night to interact with the audience.

This slideshow requires JavaScript.

Dayana Marconi, images selected for “I can hear you now” solo exhibition at FuoriLuogo Art and Culture Residence, Asti, Italy. Slideshow. Copyright for these gallery belongs solely to Dayana Marconi, images may not be downloaded without her permission. ©Dayana Marconi, 2017/2018.

Like in the case of the previous exhibition, I decided not to sell the images.

In addition to the materials mentioned here above, I am considering to print ten images selected from a third Sequence on transparent lucid A4 paper. I would like to create a sort of dummy publication for one of the interactive sections during the opening night.

These interactive sections have the aim of allowing the people who will attend the opening night to have a participatory role during the event and to approach the subject matter and my imagery at a different level, trying to stimulate understanding and, possibly, empathy. The first one involve the “Confrontation sheets”: after viewers will have the chance to observe the whole imagery displayed into the whole area of the building, they will have the chance to observe and handle these small photographic images and to try to make the included two portraits and the written emotions match. I will collect these prints at the end of the opening night in order to analyse the results and try to better understand how people perceive or misperceive the feelings expressed in those portraits. The second one involve the dummy book I intend to create printing a selection of images from one of the Sequences on transparent A4 papers. The idea is to present the emotional evolution and turmoil if the sitter all at once thanks to the juxtaposition (and overlap) of different long-exposure images, and analysing them one by one thanks to a white paper that I will provide the audience with and that can be used to “separate” those images and analyse them individually. I am still trying to define if the best solution is to create a specific “interactive area” or if I should display these two activities in two separate spaces: I will define this during the set-up.

Moreover, my intention is to portray, during the opening night, a sitter who will scream in front of my camera. This shooting, that will be necessarily different compared to the ones used to create my “Sequences” and “Confrontation sheets” due to the location that does not have any white wall to be used as background, will serve a double function:

  1. To illustrate the emotional process that usually takes place in front of my camera while the audience observe the final result of the process itself, meaning the images from two different Sequences;
  2. To create a moment of “performance art” that could deeper involve viewers on an emotional level.

This performance will take place at the first floor of the building, the one dedicated to my long-exposure images and in where I will place the “Activities’ area”, too.

Alongside the promotion managed by FuoriLuogo using their press review office and their Facebook Page, I am promoting the event in first person, too. Using my personal website and the project’s one and via social media platforms:

  • I manage the Facebook event in collaboration with FuoriLuogo and I proimote it using my personal and professional profiles;
  • I am sharing articles and posts on Facebook and Twitter to promote the event, also tagging Falmouth and FuoriLuogo’s pages;
  • I am sending private invitations while FuoriLuogo is sharing the event to their mailing list and to those people who participate to the Residence’s photographic activities and courses;
  • By sharing some images on the project’s Instagram profile.

 

FUORILUOGO EXHIBITION FB EVENT

Dayana Marconi/FuoriLuogo Art and Culture Residence, “I can hear you now – Dayana Marconi” Facebook event. Screenshot. ©Dayana Marconi/FuoriLuogo, 2018.

FUORILUOGO EXHIBITION ARTICLE

Dayana Marconi, Exhibitions: “I can hear you now” project at FuoriLuogo Culture and Art Residence, article on Dayana Marconi Image and I can hear you now project websites. Screenshot. ©Dayana Marconi, 2018.

In this specific case, makes no sense to invite peers and Professors or Tutors, since, being the exhibition in Italy, no one of them will have the chance to attend.

As I did for the previous exhibition, I will document the set-up phase and the opening night both with videos and photographs. In this case, I will be the one who will curate the whole set-up, this means that I will have more time to carefully plan and realise it and I will be able to photograph different stages of its creation. For this exhibition I will have the chance to experiment with spaces and different hanging solutions since my aim is to extend my experimental approach in the creation of my photographic images and videos to the physical way in which they are displayed into the area.

 

References:

FuoriLuogo Art and Culture Residence, official website http://www.fuoriluogoasti.com/

FuoriLuogo Art and Culture Residence/Dayana Marconi, I can hear you now – Dayana Marconi, Facebook event-page https://www.facebook.com/events/181109965810599/

Marconi Dayana, Exhibitions: “I can hear you now” project at FuoriLuogo Culture and Art Residence, article released on Dayana Marconi Image official website, News section, May 30th, 2018 issue http://www.dayanamarconiimage.com/2018/05/30/exhibitions-i-can-hear-you-now-project-at-fuoriluogo-culture-and-art-residence/

Marconi Dayana, Exhibitions: “I can hear you now” project at FuoriLuogo Culture and Art Residence, article released on I can hear you now project official website, News section, May 30th, 2018 issue http://www.icanhearyounowproject.com/2018/05/30/i-can-hear-you-now-project-at-fuoriluogo-culture-and-art-residence/

Marconi Dayana, Twitter account https://twitter.com/dayanam81

“I can hear you now” online on “Dayana Marconi Image” website

FINA PROJECT – ONLINE CONTENTS

Alongside the website specifically created for the project “I can hear you now”, I published some contents of this body of work on my personal website “Dayana Marconi Image”. As previously explained, I decided to opt for the same basic structure for both websites, this to have a simple layout that can exalt images like into a classic white-wall museum space. Moreover, the same layout would allow users to better indentify me online thanks to a sort of coordinated image.

I had to make precise conceptual decisions about how to share materials from the project into a website that is not fully dedicated to it but that want to present my current practice as a whole, including small projects created during the last three years. I decided that the best option was to create a “main” section containing Sequences, Confrontation sheets and a selection of videos presenting the body of work and then, in two additional areas, to publish “[ɪˈmaː.ɡoː]” video-documentary and “Twelve episodes”: this because even if they are integral parts of “I can hear you now” project (as explained in their descriptions), they can “stand alone”, being “sustainable” as small projects, too.

Screenshot-2018-5-22 Home - Dayana Marconi Image

Dayana S. Marconi, Dayana Marconi Image website, 2018, Asti/Rome, Italy, screenshot. Copyright for this gallery photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission. ©Dayana Marconi, 2018.

I made this decision not only because I believe that the project must be presented by itself as a whole and as part of my practice at the same time, but also because I already created a Dayana Marconi Image Facebook page that now counts 403 followers who could be interested in following “I can hear you now” too once they will visit Dayana Marconi Image page and profile. A further reason is that this website is connected to my Instagram profile page that counts 810 followers. I absolutely realise that we are discussing very small numbers considering how many people, interested in photography and art, use those social media every day, but I sense that this is the best way to integrate all my online pages, profiles, websites and platforms to promote my project at the best of my possibilities and in a sustainable way, saving costs that can be dedicated to future exhibitions or potential publications.

 

References:

Marconi Dayana, Dayana Marconi Image, website http://www.dayanamarconiimage.com/

Marconi Dayana, Instagram profile https://www.instagram.com/dayanamarconi/

Marconi Dayana, I can hear you now, project’s website http://www.icanhearyounowproject.com/