an Benedetto del Tronto (AP) Italy, 1964
Sabrina Muzi lives in Bologna. She works with photography, video, installation, performance.
Inward, 7’ 10”, 2010
In the video Inward an object moves into a round shape, its texture is soft and then as it proceeds from one point to another space tends to change also taking more irregular shapes. The feeling is to get in front of an object that moves through and short pulse seems to tell us to be a living form. The structure can remember a cocoon, a form that will transform and bring something from the outside: a growing, the birth of something ...
Inward is a work created during a residency in China in autumn 2010 and exhibited at the University Art Museum Yunnan Kunming in December of the same year.
In the depth, 3’30”, 2009
The video was created as an "attempt" a self-portrait, in which the self-image becomes a meeting point between the reflection of the real world that vaguely is allowed in the mirror of the water, and an imagined world that evokes at the same time fluidity of the medium of video footage and the pictorial representation.
The self-image is a reflection of the world or is it always hidden in the depths of the world itself? "Portrayed" itself is sought and found in his giving and denying, secretly moves in the continuous flow of being and history.
Remote body, 5’00", 2008
The symbol becomes body and the body becomes nature thus introducing to an apocalyptical vision of the past or future time of the world.
Electronic sounds mix up with an arcaic imagery reminding of the primordial rite of the human/nature relationship which enslaves and sets free at the same time.
Remote Body is the quest for a state of empathy but also the recurring question by a human potential that is continuosly being cast away from the natural environment.
Rosso di sera, 13' 00", 2006
Rosso di sera (red sky at night) is an artwork about deprivation as self-offer, about donation and abandon, about desire and mutilation, in which the artist’s body is being offered through a series of cuts expressing feeling and affliction. Portions of physicalness become relics: twenty-five plaits of my hair are ordelrly set on an ancient table, thus reminding of the night time of a love rite. This video conveys the loss of a rational feeling to rather access an emotional dimension where the individual body becomes the symbol of the social body.
Zona Sospesa, 11' 00", 2004
A succession of natural scenes where human figures stand out in relentless conflict, a lush and welcoming and enjoyable visible only to those who have laid down their arms and is willing to hear his voice. In "Zone suspended" two men vie for a sharp stick on double pointed needles and immersed nell'affannosa struggle have lost all contact with reality. Their breath is getting bigger and taking on the menacing tone of the eternal epic struggle, to become dull sound, useless, and dissolve in sleep and in the liberating power of nature.
Tortures (#1 #2 #3), 10' 00", 2001
The video shows three ways of oppression / resistance. The cancellation of the freedom of expression and the subjective and cultural identity is still the limit with which the human person has to face in order to live with each other.
torture 1: Inability to speak, to see, to ..... perceive and interpret the world. A torture to be reduced to a faceless, without identity or thought.
Torture 2: The occupation of the territory in order to affirm the accretion of power generates the cancellation of other geographic and cultural identities and is the main cause of conflicts between peoples. Carve out a "space" of free expression is the urgency that drives us to resist to any oppression.
torture 3: The house, built by a well-known pastime here, reveals the fragility of protective structures when in the field a system of opposing forces. The playing cards refer to the mechanism losers-winners. The desire to become spite taxation, remembering those mechanisms in a way that is playful and child already reveal separations, plots, small factions.