Portrait #3 [ Antonioni & Vitti]
Installation view Galerie Crone, Berlin 2015
Photo: Marcus Schneider




Portrait #3 [out-take | monica vitti | sculpture]





Portrait #3 [out-take | monica vitti | sculpture] is a hybrid work between an architectural sculpture and a video installation

Portrait #3 [out-take | monica vitti | sculpture]  is dedicated to one of the major film director and best known for his “trilogy on modernity and its discontents”. Michelangelo Antonioni redefined the concept of narrative cinema producing enigmatic and intricate mood pieces favouring contemplation and focusing on image over story, as in Red Desert (1964). Antonioni’s first film in colour is a film about a woman trying to survive in the modern world of cultural neurosis and existential doubt. Renowned for its scenic design, the work largely takes place in industrial landscapes that have been interpreted as a correlative of the unease, alienation, and vivid perceptions of the main character, Giuliana (Monica Vitti).

Peter Welz uses a sculptural and architectural device made out of steel - often found as a spacial device in modern architecture - deriving its basic structure at the 'Kino International' in Berlin, a premiere cinema of the former GDR. The artist replaces the design of the destroyed panels, originally in glass, by white wooden panels as a projection screen.

The slats and panels cut up the projected image depending on the position of the viewer in space, so that the video projection is visible as a whole only at one particular viewpoint, otherwise split up and is rearranged anew by the given structure. The projected video sequence focuses on a very crucial moment of Red Desert, when Monica Vitti is asked to cry. It is the most vulnerable, private and powerless moment, and the very point where the fictional reality overlaps with the actual reality. During the filming Michelangelo Antonioni corrects the scene by walking into the frame twice and finally neglects this sensible moment in the final version, as it would have altered the whole outcome.

With the great support by the Museo Michelangelo Antonioni and the Galleria d’Arte Moderna e Contemporanea of Ferrara.















Screen-test #1 | Monica Vitti | gaze [slow motion]
HD projection 4:3, CF-player, canvas | photo print on canvas, black acrylic
Installation view Galerie Crone, Berlin 2015
Photo: Marcus Schneider












Portrait #3 [film as sculpture]




Artist Fims at Kino International, Berlin

Portrait #3 [out-take | Monica Vitti | onto cinema curtain]
35 mm transfered onto HD, projection onto white & glitter cinema curtain,
Kino International, Berlin 2016
Photo: Sabrina Tenório Luna







Portrait #3 [out-take | Monica Vitti | onto architectural device]
35 mm transfered onto HD, CF player, projector, architectural device
iInstallation view Kino International, Berlin 2016
Photo: Bernd Borchardt
















Portrait #3 [out-take | Monica Vitti | still]
© peter welz | studio & Museo Michelangelo Antonioni | Galleria d’Arte Moderna e Contemporanea | Ferrara








Model for a Video Sculpture | Portrait #3, 2011
Model on plinth, photo print on drawing paper
Courtesy Galleria Fumagalli, Milano, Italy







Portrait #3 [out-take | Monica Vitti | focus chart]
DVD loop, MDF board, foto print, tape, Kodak colour chart, projector, tripod,
100cm x 70cm (each pannel), Berlin 2015









                       
                       
                                   Portrait #3 [out-take | Monica Vitti | focus chart]
                                   DVD loop, mobile wall
                                   Installation view Vestfossen, Oslo, Norway







Portrait #3 [out-take | monica vitti | studies]




Portrait #3 [screen-test | Monica Vitti | study]
C-print, multi layers, tape, 100cm x 70cm
Berlin 2015








  

Portrait #3 [screen-test | Monica Vitti | study]
C-print, multi layers, 100cm x 70cm
Berlin 2015





Portrait #3 [screen-test | Monica Vitti | study]
C-prints torn and taped together, 100cm x 70cm
Berlin 2015




© Peter Welz 2018