SCAPE/SHORE/LIGHTS
June-September 2011, Suwalki, Poland, Exhibition.


Mattia Listowski, exhibition photography video installation Scape Shore Lights, Suwalki Poland 2011.






Mattia Listowski, exhibition photography video installation Scape Shore Lights, Suwalki Poland 2011.



Mattia Listowski, exhibition photography video installation Scape Shore Lights, Suwalki Poland 2011.






Mattia Listowski, artwork installation Maybe, 2011.



MAYBE

This piece refers completely to SCAPE/SHORE/LIGHTSBE exhibition. Starting with a central position in the gallery, an intermediate space, which doesn't define the location of the object. This is a proposition of a space in between the gallery's space and the mental space of the viewer.





Mattia Listowski, artwork video installation Autoshore, 2011.



Mattia Listowski, artwork video installation Autoshore, 2011.



Mattia Listowski, artwork video installation Twinshore, 2011.



Mattia Listowski, artwork video installation Twinshore, 2011.



AUTOSHORE and TWINSHORE

These two projects consist of reporting filmed events with some images justifying a discourse that leads to show these images. With AUTOSHORE, the television justifies itself, a screen within a screen within a screen etc. Overlayed images that justify themselves create emptiness, referring to the cavity of the object: television short-sight the view, infinity becomes finished. This is a contradiction. It's the contemplation of void. With TWINSHORE we don't film what we see for what it is, it's already the meaningless image of the box.





Mattia Listowski, exhibition Playgrounds with VLF and Eli Serres at Helene Aziza, Paris 2010.



ISOSHORE 13

The message no longer exists without technique, technique is the message itself. Isoshore 13 is a movement generated by technique, therefore the message becomes the movement. The photography is divided by a filter in an infinity of frames that create the movement frame by frame. This movement is imperceptible. In between of our accelerating time and slower geological time. It's an intermediate time. Technical time and geological time both have different speeds that create the same landscape.









Mattia Listowski, artwork video installation Translate, 2011.



Mattia Listowski, artwork installation Lightscape, 2011.



Mattia Listowski, artwork installation Lightscape, 2011.



ROTATE, TRANSLATE and LIGHTSCAPE

ROTATE is a plane rotating on itself at the same speed as the carousel which projects the plane: there is a parallel time. Installation designs light through a plane, a frame of white light showing a blank space behind the projection plane. As the plane rotates on itself and blank space is beyond (behind), this space is also around the plane: there is a parallel space. Time and space coincide with reality.

TRANSLATE modifies the real space providing a contradiction, with the infinite space bounded by the definite space of screens. Windows on the same open landscape horizon trapped in a circle. A contemplative dimension; where anyone can imagine an inversion between the installation and the reality. Imagine our physical space revolving around the open landscape of the installation.

That design is an illusion is a way to say reality may not be true and seems unreal. LIGHTSCAPE is the idea of a paradox with this vertical and giddy world we live in. The Installation creates an inside perspective that makes one feel tranquil. Living the sensation of an infinite space in a more and more definite world. A zero gravity experience.





Mattia Listowski, artwork installation Windshore, 2011.






WINDSHORE (with OFFSHORE 1 and SEASHORE INLAND)

Tranquility is necessary in order to define the sensation of time acceleration. With WINDSHORE, OFFSHORE 1 and SEASHORE INLAND, the viewer searches for the calm side of their accelerating environment. Technique is highly important in the delivered message, a vector of reality interpretation. Photography is a memorial document, a monochromatic palette not edited or installed. The two photographs and the video installation about dust are technical interpretations; expansion in Offshore 1, digital artifacts in Seashore Inland, screen calibration in Windshore. These highlight phenomena invisible to human eye under normal visual conditions, and give direct access to a view that usually takes longer without technical distortion. One is talking about the awareness of dust in front of a light, the sensation of large-scale movement, and the sensation of landscape resulting of artificial retinal persistence.