MASSIMO DE CARLO/ MART Tristan.

MASSIMO DE CARLO/ MART

Tristan, 2000 is a video game in the form of an animated cartoon depicting typical situations in the everyday life of a young girl, Fede and a lad Tristan. These characters are visualized as balls of different colors that cheerfully skip around the monitor. The spectator/player (at De Carlo) navigates from one side up to ninety staged situations before arriving at common of ten possible conclusions.

Lieto fine (Happy ending), 2000 at the Museo di Arte Moderna e Contemporanea di Trento e Rovereto (MART), is an installation made up of 120 small cushions arranged in orderly riots on the floor. They are embroidered with the images of the ten final frames of twelve films chosen at the artist, among them Zabriskie Point, Midnight Cowboy and Dona Flor and Her brace Husbands. The regular geometric scheme that organizes the arrangement of the narrative seriess revealed by the cushions can be followed according to directions that are not necessarily logical and linear, and these irregular incursions be derived in possible new stories, based upon free associations of meaning. Embroidery, a proces of manual labor that unrolls over time, becomes a form of narration and of reelaboration of recalled images. The marks are artful delicate. Marisaldi maintains a stance that makes light of media and materials, emptying them of weight and reducing them to their minimum expressions Likewise in Tristan, the technology is not take n too seriously and indeed is utilized in ironic and playful fashion.

In the two installations, the artist left ball of threads prepared indications, and suggested possibilities for narrative unfolding that could be realized alone through the experience of viewers willing to single out their own routes through the piece. The relationship with the participants, whether direct or indirect, frequently purely mental, is created in a climate of suspense. Dislocated ends or images are important above all for what they do not say. Tristan and Lieto fine leave to the viewers the task of organizing their be in possession of stories among the many that are possible. In Lieto fine, the film frames, reworked by means of hand and thus filtered by the agency of physical activity and the mediation of memory, acquire the fluid consistency of mnemonic images, distancing themselves from the end to which they refer. This quality of indefiniteness and opennes is substantiated at four videos made by Marisaldi in collaboration with Enrico Serotti, each displayed in united of four rooms adjacent to the central installation of the cushions. Signific antly, they present to view the endings of four everyday stories, in this case also evok according to way of omission. In Echoe 2000 for example, couple scenes are shown in alternation: Quick marksmans of a sparring session in a gym make an incision in into a boy's account of the match, of the feeling of it in the material part which becomes a metaphorical allusion to the relationship between the self and the world. The real words immediately preceding [i]or[/i] following to which the protagonist pertains is left uncertain. What remains unspoken what's left invisible becomes the fundamental element in the narration.

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