http://lanotiziah24.com/?s=Giancarla+Parisi+artista+dell%27anno+2014 ROMA
GIANCARLA PARISI
OMEGALFA THE NEMESIS PARADEIGMA
MILANO, VERNISSAGE 10 APRILE, ORE 18 10-17 APRILE 2014
VIA MONTENAPOLEONE, 8 STUDIO LEGALE SUTTI
Giancarla Parisi o Carla Rhapsody.
...............La Parisi, partita soprattutto da orizzonti prossimi a certo neopop o nuovo futurismo prossimo alla generazioni degli stessi Renato Barillli e Marco Lodola, mixati da certo paradossale surrealismo estetizzante (la stessa Tamara de Lempicka sullo sfondo) è esplicitamente approdata nel 2013 a voli postumani e transumanisti: la mostra programmatica milanese Transhuman Woman (Via della Spiga “Gallery) e il progetto arte e design ”Carla Rhapsody” riflettono un mega video game metaforico, colori mind up loading probabilmente destinati a un 2014 rilevante e traccia ormai sinaptica per l’Italia di una nuova estetica transumanista in boccio e relativamente “epidemica/epidermica”.
Particolarmente suggestiva appare la cifra squisitamente femminile e tecnoliberty (in certo senso anche archetipico moderno) di tale dinamica avanti l’angolo dell’anno appena nato. Donne e Tecnologia, anche in Italia, oltre certo pregiudizio molto italico, potrebbe finalmente sostituire il clichet novecentesco Donne e Motori. Carla Rhapsody, già modella e appunto anche designer, testimonia già, l’elettronica immaginaria come poetronica visual capace di ricombinare nelle opere e nella … cybercoscienza, quel memo biofilo e profondamente umanista e +, certamente tutt’oggi lacuna strutturale ancora in Italia, nella cultura e nella parola prevalenti, nell’età digitale 2.0.
Lo stesso Stefano Vaj, scrittore e transumanista italiano, in una notevole intervista americana, proprio sul magazine del transumanesimo, hPlus, ha espressamente segnalato la stessa Carla Rhapsody, tra le figure oggi promotorici in Italia di tale nascente nuova estetica contemporanea.
Roby Guerra wikipedia
Roby Guerra wikipedia
hPLus magazine Usa, Los Angeles
By: Roby Guerra, Stefano Vaj
Published: October 28, 2013 ..........................
Q: What about transhumanist art?
A: The meeting between overhumanism, as an intellectual moving-on from the humanist legacy, and technoscience, as the practical possibility of human enhancement, does not take place with Futurism by chance. As Divenire III well illustrates, it lies directly or indirectly at the foundation of all transhumanism, and arises not as a movement of engineers, scientists or philosophers (although Riccardo Campa demonstrates in A Treatise of Futurist Philosophy that it is easy to make a scholarly reconstruction of its philosophical worldview), but rather of poets and artists.
But if transhumanism itself, in the tradition of Mafarka the Futurist or of the Order of Cosmic Engineers can be regarded as “art applied to ourselves and the universe”, in the more usual sense of the term there exists a lively artistic movement, with trends and critics explicitly inspired by transhumanist topics. See for instance the living icon par excellence of its American wing, Natasha Vita-More, the current chairman of Humanity+; but also continental representatives like Roby Guerra, my present interviewer, or Giancarla Parisi, aka Carla Rhapsody, whose recent vernissage in Milan bore the heading “Transhuman Woman”. Not to speak of the neo-Futurist artists, like Graziano Cecchini, whom I by definition regard as ideological, if not nominal, transhumanists.
Q: What about transhumanist art?
A: The meeting between overhumanism, as an intellectual moving-on from the humanist legacy, and technoscience, as the practical possibility of human enhancement, does not take place with Futurism by chance. As Divenire III well illustrates, it lies directly or indirectly at the foundation of all transhumanism, and arises not as a movement of engineers, scientists or philosophers (although Riccardo Campa demonstrates in A Treatise of Futurist Philosophy that it is easy to make a scholarly reconstruction of its philosophical worldview), but rather of poets and artists.
But if transhumanism itself, in the tradition of Mafarka the Futurist or of the Order of Cosmic Engineers can be regarded as “art applied to ourselves and the universe”, in the more usual sense of the term there exists a lively artistic movement, with trends and critics explicitly inspired by transhumanist topics. See for instance the living icon par excellence of its American wing, Natasha Vita-More, the current chairman of Humanity+; but also continental representatives like Roby Guerra, my present interviewer, or Giancarla Parisi, aka Carla Rhapsody, whose recent vernissage in Milan bore the heading “Transhuman Woman”. Not to speak of the neo-Futurist artists, like Graziano Cecchini, whom I by definition regard as ideological, if not nominal, transhumanists.
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