What is your making process? Do you use other mediums in your practice alongside moving image? If so how to do you see their relationship to your moving image work?
My job is always the result of hybridization between different languages; inside you can clearly find performance art and theater, which is the world I come from, 2D and 3D animation and video art. I would say that all my work starts with the a research about the representation of video performance, an I choose a way that rejects decisively the mere "documentation” of a live action. Instead I’m exploring a new process blending different languages, from performance art to new technologies like interaction design, 360 degree video, 3d and virtual reality.
As cleverly noticed by Raffaele Rivieccio, italian film critic: “In Francesca Fini’s work performance art becomes more and more a complex videoperformance, to bring out the best details, suggestions, sounds, and the synchronicity that you cannot grasp in the unity of space and time where the performance is acted in real time. The unity of place then derives from the skilled tailoring of editing, from the explosion and decentralization of traditional perspective. The reality of performance art becomes the neorealism of videoperformance.”
Which artists and/or directors are you particularly interested in/ inspired by and why?
The list is long and very heterogeneous, let's say that my favorites are: Fellini, Pasolini, Tarkovskij, Polanski, Lars von Trier, Peter Greenaway, Jodorowsky, Shinya Tsukamoto, Gus Van Sant, the latest Woody Allen. In the video artist world I love Matthew Barney, Vito Acconci and Peter Campus.
Which newer artists’ are particularly exciting you in the moving image world at the moment? Is there a an artist who works with moving image should we all know about?
Probably you know them already, I would say Shahar Marcus, from Israel, Gianluca Abbate, an Italian, Albert Merino spain.
What are you working on currently and do you have any future projects planned?
I’m working on a long feature performance based art movie in association with Cinecittà Istituto Luce, the Italian national archive of documentaries on Italian society since 1927. The movie is a sort of surrealist reinterpretation of Shakespeare from the point of view of Ophelia, who decides not to drown and takes control of her destiny. Symbolism, surrealism, redemption, strength and imagination are the keys to this journey.
What is your favourite film?
The cyberpunk masterpiece from Shinya Tsukamoto, Tetsuo (1989)
Your work DADALOOP is in 3D with anaglyph glasses. Why did you decide to work in 3D and what possibilities does it offer you as an artist?
experimenting with a 3d space - with materials originally conceived for a 2d environment (the found footage and archive material) - was an incredible experience and gave me the possibility of working with a new dimension. Conceptually, the idea was to literally cut the 2d characters out of their context as paper dolls, and then reassemble them into a new digital space in 3d. In this transfer the "dolls" lose their connection not only with the narrative context but also with the spatial structure in which they were conceived originally, assuming new meanings that crack their role as ambassadors of a granitic and dominant culture.