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by Francesca Fini / all user's albums

a few images from my live performances.

60.68 kB
BLIND is a performance experiment blending togheter body-art and interaction design. The purpose of the performance is to transport the audience in an immersive dimension in which the performer becomes the vehicle of an experience of color through interactive sound and visuals. The webcam is programmed in order to recognize the special "wave" emitted by the color and the synth to respond live by activating a sound. To each of the 4 main colors I associated a group of instruments with a well-defined personality; to yellow the madness of the violin, to red the deep notes of the piano, to blue the metaphysics of crystal bells, to green a bunch of acid tones mixed with the hum of the forest. The scientific research on the relationship between sound and color is the starting point of a personal experience in which I discover the connections between the senses.

"To smell the yellow, to hear its music, to keep it between the fingers".
334.86 kB
BLOOD is a reflection over my creative process as an artist. When I think about it I feel like some sort of serial killer, struggling with my own ghosts in front and behind the symbolic space of video-making; a transparent screen that become some sort of prison, where I murder my-self over and over again.
14.24 kB
"Cry Me" is a radiography of the soul.

As a woman, I reveal myself through videoart, playing with a tv display that is like an uterus where my secret “avatar” lives and sings.

The video was inspired somehow by the visceral and visionary paintings of Frida Kahlo.

The artwork in the display was originally a video shot with a dv camera and then manipulated into photoshop frame-by-frame, as a digitally painted animation.
255.36 kB
The rabbit got out of the cylinder to show us the banality of evil. It tells us a story in three acts about the origin of power, playing with colored paper cut-out shapes.

The performance is based on interaction design and video mapping. The sounds are generated live, according to the color of all the paper objects that are shown to the camera, which frames the white belly of the rabbit. Each color is associated with a sound that is emitted and modulated by the synthesizer, according to the movement of the hands. The colors, once "activated", also launch graphic animations, which are projected on the white rabbit mask suspended in the air.
1,455.10 kB
The education of feelings in a woman is a cathartic process that has something sacred and ritual. We Rebuild it in the flutter of a performance, in a communication with gestures, touch and body fluids. We bring out of our female bodies all the symbols of our slavery to Perfection and Beauty. More than any creature of this earth, we do not accept the contradictions that are the most authentic aspect of Life, in its absolute lack of meaning.

We try to mend a sense abandoning the linear paths. We accept the absurd like a curved iron bar thrown into the gears.
131.06 kB
The concept of performance is an invitation to violate our personal space, to overcome the illusory security that is both culturally and physically. The escape from this invisible shell, yet so powerful, it is accompanied by sound. With the tools of computer vision, Francesca Fini has mapped the space where the performance takes place, inserting virtual objects that are activated in perfect synesthesia, by the smallest movement of the performer. The space becomes a sensitive place to the emotions expressed by the movement, a place that meets and interacts with us, generating images and sounds. The sounds are modulated according to the intensity and speed of movement, like a musical instrument capable of giving physical reality to social conventions, to the invisible prisons, to the the antibodies of our own cultural identity.
6,250.37 kB
performance piece in two chapters

Act I - "white lab"

The miracle of the wild colors of natural seasons is played in the space of a white lab, flows in a white suit that wraps a body without a face. Colors that blend and overlap, to make my white skin hard and brown like bark, as time goes by making us feel as to resemble trees.

music by zuhn -

Act II - "white noise"

The Greek word for "nature " is physis (φύσις): According to Heidegger this term is related to the keyword phàos, phos which means light, wanting to signify a connection between life and light. The concept of light as a source of life is shown through the use of interaction design. The lab is now completely dark. The public can pick up light torches from the floor, to illuminate the scene. When light hits my white suit, the wall behind me comes to life. Bright colors run across the surface of the room, accompanied by interactively generated sounds that appear to be one with them. The webcam in front of me tracks light spots on my suit, transforming them into images and sounds.
47.62 kB
Self Portrait is a piece of live art by Francesca Fini, implemented in collaboration with Gianluca Giardi, visual artist of Rome. A black cloth is in the middle of the performance space. On the canvas runs a video that contains a mosaic of images of women in the 60s public domain. The "ephemeral" culture that reveals the stereotype of women and its distortion in the period surrounding the so-called image-obsessed society. She is and advertising vehicle, a messenger of social campaigns, the object of male desire in the first soft-porns in black and white. A picture that could be monotonous, but in reality is mysterious and ineffable, while the video runs, sent back and forth by the fast fingers of Francesca Fini handling a corset full of electronic valves and knobs. An electronic dress/prison that is also an instrument that makes up a noisy soundscape where you lose the words of those women of the past, while Gianluca tries to keep their faces on the canvas with white chalk.
560.90 kB
A woman discovers and plays with a mirrorball, and so she dies, mesmerized by her own image reflected by hundreds of little pieces of mirror. "Narcissus" myth, reinterpreted by a video that “reflects” the magmatic disintegration of individual identity in contemporary society and the savage search for artificial beauty.
10,748.19 kB
"To be or not to be?" The question is made by remixing the words of Sir Laurence Olivier in his Hamlet.

The question is always the same, eternal, but here gains new meaning. Being or not being here means to decide to exist in the real or virtual.

In the performance the most vulgar tools at the base of interaction design and digital entertainment are incorporated within a traditional aesthetic vision that gives them absolutely new and unifying meaning.

Technically the performance was designed to use a webcam connected to a real-time software that tracks my movements by associating them with sounds and turning my body into a synthesizer. At the same time my image, projected live on screen behind me, interacts with 3D graphics in order to obtain a kind of augmented reality. The concept behind the performance is the desire of melting togheter two very distant languages: Shakespeare and a video game. So, the onanism of playstation becomes public spectacle, while the aesthetics of ritual theater decomposes in the psychedelia of a videogame.
265.71 kB
I mapped the space around me, inserting virtual objects that are turned on by my movement. A webcam frames the scene and sends the information to the computer. When I move my hands in sensitive areas, the video reveals the activated virtual object by projecting a colored sphere, and a synthesizer play sounds - different for each colored area - and it's like playing a virtual Soundmachine. Experiments of this kind have their roots in the 80s, which I quote in makeup and optial clothing.

The experiment is part of a series of performances, ideally dedicated to Eadweard Muybridge and his studies on the Science of motion. In these performances I invent different devices that allow me to paint the space with light and the movement of my body.
476.14 kB
"The Birth" is the first of a set of performance pieces that tell the relation of our culture with the idea of meat, liberated from its sexual references and conceived as the very essence, the physical and material of the others, the space they occupie, their smell in the air, and their interaction with us. The meat is a conductor of entire worlds with whom we seek some form of dialogue, of negotiation. I tell this short-circuit, the magic of touch and recognition of the presence of the others, and of something elusive but undeniable, through interaction design. I have a low-voltage electrode in the arm. The other pole is attached to the foil that covers the table. When I touch the flesh, this is a conductor and the circuit closes, sending a signal to a digital synthesizer that translates it into sound. Nothing can help us in this journey of discovery, where we have to venture drained and free, even if you exorcise your trip on a table supported by piles of books.

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