“The act of falling: nowhere” is video about the trajectory of a “falling-on-earth” meteorite which crosses the 360° screen installation never crashing into the ground.
The falling meteorite crosses several panoramas, all of them are places from the Atacama desert of Chile. The paradox is the place: In Chile there are severals observatory stations and radio telescopes which are constantly monitoring the universe, while a meteorite is passing right there, pretty fast and pretty close to the structures. It’s like a sign. We see also the ”Moon valley”, a vulcano 6000mt high. A leftover smashed truck. these are all views, letter from a “on the road” trip in the desert.
I got inspiration from the movies by Inarritu: in the city or the wood suddenly the director wants to insert a falling meteorite. It’s a comment, a note, it doesn’t involve with the story of the movie, but it’s there, reminding us anything can happen while we are following our dreams, or solving our problems.

Video installation at NoD 360 Gallery, Prague

12. 4. – 7. 5. 2016
Curator: Veronika Zajačiková

Caterpillars into Space, Marco Chiodi, 03:24, © 2011

The places are important. The meeting point between two mountains, where the water flows eroding the rocks is a magnetic place of perpetual energy. One night something unexpected happens along a stream: the waterfall lights. The energy consumed by the light is generated by the power of the waterfall itself. It’s a all-sufficiently system which produces and consumes hydroelectric power. This Installation is located somewhere in Bergamo’s mountains.

Exhibitions:

http://www.undo.net/it/mostra/177359

This light installation is sponsored by Proled

Marco Chiodi, Judo notes #1, 00:48, © 2011

Notes about the judo technique Okuri ashi barai and the three steps Kuzushi – Tsukuri – Kake in Morote seoi nage.
It’s a repetitive system to find the right moment to act.

Credits:
Marco Chiodi
Marco Guarnieri
Ji-ta-kyo-ei Ciserano

Marco Chiodi, The Lovers, video, 01:24, © 2010
In queste immagini, due amanti compiono azioni violente sintetizzate in un combattimento di judo. La maschera che indossano elimina il contatto visivo, isolando nel buio gli amanti, tesi verso la ricerca del contatto, verso il tentativo di percepire e poi sfruttare l’energia dell’altro seguendo la Via della Cedevolezza (Ju = gentilezza, adattabilità, cedevolezza, do = Via). La cedevolezza nell’immediato è un inganno; essa cela la risposta immediata al fine di far cadere l’amante al suolo, dove continua la lotta e dove il soffocamento diventa la Via da perseguire per ottenere il massimo risultato.

In these images, two lovers commit violent actions summarized in a judo fight style. The mask they wearing eliminates eye contact, isolating the lovers in the dark, tend toward the search for the contact, to attempt to perceive and then use the energy of the other following the way of gentleness (ju = gentle, adaptability, do = Way). The immediate gentleness is a trick: it conceals the immediate response in order to bring down her lover on the ground, where the fight continues and where the choke becomes the Way forward to achieve the best results.

Credits

judoka characters
him Marco Guarnieri
her  Silvia Gratton

thanks to
JI-TA-KYO-EI Judo Ciserano
Alessandro Foglieni
Pietro Chiodi
Lorenzo Vigori
© April 2010

da Jhon Berger, Sul guardare (Perchè guardare gli animali?)
Entro certi limiti gli animali sono liberi, ma, al pari dei visitatori, sanno bene che la reclusione è totale. La trasparenza del vetro, lo spazio fra le sbarre, l’aria al di sopra del fossato, non sono ciò che sembrano – se lo fossero, cambierebbe tutto. Trasparenza, spazio e aria si sono ridotti a puri simulacri…
É questo insieme di cose a renderli marginali. Lo spazio che abitano è artificiale. Di qui la tendenza a svignarsela ai margini. (Oltre i margini potrebbe esserci il vero spazio)…
In definitiva, la dipendenza e l’isolamento hanno a tal punto condizionato le loro reazioni che essi considerano ogni evento che si verifica intorno a loro – in genere di fronte, dove si dispone il pubblico – come marginale. (Di qui l’assunzione di un atteggiamento che sarebbe altrimenti esclusivamente umano: l’indifferenza.)

by Jhon Berger, About Looking (Why look at animals?)
Within certain limits, the animals are free, but, like the visitors, they know that the prison sentence is complete. The transparency of glass, the space between the bars, the air above the moat, are not what they seem – if they were, would change everything. Transparency, space and air are reduced to mere simulacra …
It is this combination of things to make them marginal. The living space is artificial. Hence the tendency to run away at the margins. (Out of margins could be the real space) …
Ultimately, addiction and isolation have so influenced their responses that they consider every event that occurs around them – usually in front, where you have the audience – as marginal. (Hence the assumption of an attitude that would otherwise only human indifference.)

Marco Chiodi, Passi di Quiete (Peace Steps), video, 04:34, 2009, © comitato Ev-K2-CNR

Questo video è la documentazione sintetica dell’impresa alpinistica sulla montagna Gasherbrum II avvenuta nel giugno 2007, quando tre alpinisti, Karl Unterkircher, Daniele Bernasconi e Michele Compagnoni, andarono in Karakorum (Pakistan) per salire la montagna, alta 8647 m s.l.m., dal suo lato ancora inviolato, la parete Nord. Due di loro riuscirono a raggiungere la cima, mentre Compagnoni abbandonava il tentativo, fermandosi a 7000 metri di altezza, a causa di un malore. Essendo una parete dove mai nessun uomo aveva messo piede, i tre alpinisti si trovarono di fronte il compito di dover pianificare la salita e quale linea della montagna scegliere per raggiungere la cima. Questo, in gergo alpinistico, si chiama “aprire una nuova via”. Dalla partenza al campo base fino alla vetta, ogni passo o bracciata compiuta sulla parete è stato un piccolo, ma fondamentale, superamento del limite. Le immagini, che sono state realizzate dagli stessi alpinisti, appartengono all’archivio del Comitato Ev-K2-CNR, il quale ha promosso e organizzato l’impresa. Queste immagini cercano di trasmettere allo spettatore il senso di fatica e di finitezza provati dagli alpinisti durante la scalata. La roccia e la montagna di ghiaccio, con il cielo limpido di quei giorni rendono il paesaggio in cui si trovano gli alpinisti sublime, nel verso senso del termine: questo luogo attrae e spaventa simultaneamente. Molti alpinisti muoiono durante le spedizioni alpinistiche. L’opinione pubblica, non avendo una risposta logica, si domanda quale sia il motivo che spinge l’uomo a compiere certi gesti mettendo a rischio la propria vita. Quando a inizio secolo chiesero a Hermann Buhl cosa spinge gli uomini a voler scalare l’Everest, lo scalatore austriaco rispose semplicemente: “perchè l’Everest esiste”.

This video is the summary documentation of the mountaineering expedition Gasherbrum II in June 2007, when three climbers, Karl Unterkircher, Daniele Bernasconi and Michele Compagnoni, went to Karakorum (Pakistan) to climb the mountain, 8647 meters high above sea level, going for its side still untouched, the North Face. Two of them managed to reach the top, while Compagnoni abandoned the attempt, stopping at 7000 meters high, due to an illness. Being a wall where no man had ever set foot, the three mountaineers were faced with the task of having to plan the ascent of the mountain and choose which line to reach the top. This, in climbing parlance is called “open a new route.” From start to base camp to the summit, each step or stroke made on the wall was a small, but crucial, limit exceeded. The images, which were made by the climbers themselves, belong to the archive of the Comitato Ev-K2-CNR, who has promoted and organized the expedition. These images try to convey to the viewer the sense of effort and finiteness tested by climbers during the ascent. The rock and the ice, with clear skies make the landscape of those days where the climbers were, sublime in the true sense of the word: this place attracts and rejects simultaneously. Many climbers die during the expeditions. The public wonders what the motive that prompts man to do certain acts endangering their lives, having no a logical answer. When a journalist asked at the beginning of the century to Hermann Buhl what drives men to want to climb Mount Everest, the Austrian climber simply replied, “because Mount Everest exists.”

Still frames the video. From top left clockwise: Gasherbrum II face north, Karl Unterkircher, Daniele Bernasconi, Michele compagnoni

Experimenting With An Organic Metaphor and Hypervisual Links for the Interface of a Video Collection is a multimedia object that functions as VideoArchive and proposes two original solutions to implement the interaction with it: the navigation through the use of an organic metaphor and a system that allows connection via “hypervisual” links between the videos, called hypervideo.
Original project realized for the degree thesis, University of Bergamo, supervisor Prof. Marco Lazzari
Proceedings of the 27th ACM conference on Human factors in computing systems (CHI 2009), Boston, MA, USA, 2009
more info: ACM digital library, Aisberg

© Marco Chiodi 2008