Defined by its author as a videopoemopera e Gianni Toti Planetopolis is - with its two hours and six minutes in length - a video-bound. The spectators who witnessed his first public exhibition in Buenos Aires, did not attend anything other than the mythical foundation ceremony of a city-virtual world, built by the new availability of digital image; is accepting that challenge was initiated planetopolitanos status.
From Global Village made possible by the videosphere, which in just a couple of decades was Macluhan the utopia of a journalistic cliche, Toti has proposed the establishment of a new symbolic space, the foundation of a city-regulated world by law in perpetual transformation of his poetry. Gianni Toti
knew once defined as a poemosaurio. If the 60 'used to be regarded as a rhetorical theory in their speeches within the framework of the famous film festival in Pesaro (the adjective used to spit from a condescension not without some sympathy -The end of the day - from the positions of the promoters of a hard Marxism, formalized, with hints of episteme and scientific method), demonstrating its extraterritorial status, and in the postmodern 90 'Toti has been assumed as a living anachronism, nurtured and pure poetry sustained a work of astonishing vitality. In contrast to the lightness that often prevails in an orientation towards narcissistic look pure definition of its author, who postulated poesimista. It is because they believe live in the best possible place to be proposed - as I wanted the old Holderlin - poetically inhabiting the world, dating back to the video.
Planetopolis away to demarcate rigid boundaries, is established in border areas. Between the work and the manifest, beyond the devaluation from 70 'could be verified in the category of work on par with the rise of conceptual art, where the focus was on the agenda in the manifesto: art as idea, that as an object. Among the many video Toti ambitions is to transcend the opposition work / concept, creating a video show, taking a step toward a post-conceptual territory. And it does process the iconography and historical avant-garde projects, rather than the underground of the 50 'to date. Explore lineages to their city-planet that is essentially go back to experiences Soviet of 20 ', but who came to architectural projects of a dream-Boullée in the eighteenth century.
In that sense, the work is also located at a point of convergence between the visual arts, music, poetry and various aspects and stages of video creation, developing a wireless video-knot with heterogeneous texture which often puzzles. Lo videopoemopera DIY speaks of that starting point, far from forcing a hybrid guarantees the originality of the result.
But there is another border, which is located between the video and digital art. Toti traveling with his camera recording the visible part of its course. However, as much from than in the absence of a better name now called digital art. Cosmic spaces, tunnels, buildings, areas dizzying liquid figures, extending a virtual magma where the image often seems to be located at the end of a pregnancy visible. Toti thus obtained an epic video image.
As perceptual and intellectual experience high demand, summons Planetopolis ideal demographics and unusually complex. Toti's video is spoken in 15 languages, including artificial Planetopoliense. Participate in its course film footage of Lang, Eisenstein, Marker, Pennebaker, lanolin, among others, and videographers Nadruz Ulysses, Vladimir Carvalho, Bernard Bloch and Sandra Kogut. The soundtrack alternates Shostakovich, Honegger, Prokofiev, Handel, Mahler, Elgar Pachebel or with Mercedes Sosa, Atahualpa Yupanqui and Stephane Grappelli.
poemasaurica To reinforce its status should be noted bluntly that Planetopolis is a revolutionary video. There in a dimension that can surprise in the current aesthetic: the incorporation of history. Toti order does not refer to any history, but precisely the opposite: the beginning of another. In his Big-Bang-mail to your digital statement planetopoliense status, the work breathes a revolutionary desire to respect all life poetically conceived. Accustomed to minimalism more, the viewer this may hesitate before this maximalism poetic, progressing on a permanent revolution, turn after turn, as I imagine that young Denis Kaufman himself was baptized with the name in Ukrainian and Russian Dziga Vertov. Remember that in other times, the author returned again and again to the applications of that cinema-eye.
The extension makes it Toti video, on the other hand, in a distant period brevedades frequent accelerations and in the middle. Far from the speed that seems to impose the digital environment and obsessed theorists like Paul Virilio, Planetopolis taking time evolves. In this sense grows its demand the viewer, to be orbiting in their turns parsimonious, while the words are based, like images, in its course. It is a fine example in this regard, a cyber-criticism resistance holding exploding digital pump.
One of the problems characteristic of formal innovation in the video creation lies in its fundamental plasticity, that the time to question the borders of the image and promote new ways, makes it extremely functional, suitable for rapid assimilation and appropriation as raw material for various products in the audiovisual market, especially the music video or commercial. But Toti resistance poses a marketing strategy based on the installation of words that name the images, which stand a difference that challenge a viewer shaking your convenience. In its range of motion, the video of Toti causes an intense emotion that is rooted in its fundamental honesty. Oblivious to fashion, to current trends, this work highlights their inordinate thirst for meaning, which connects to the epic with an ethic of the image under its new forms. At times he seems naive and outmoded definitely ask if the video can transform the world, Toti proposes to change the question "Can the video start one? The answer is yes, and his name is Planetopolis.
Planetopolis, Gianni Toti (From the global city videosphere) - Eduardo A. Russo
(In the book The Revolution of Video - Jorge La Ferla)
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