giampaolo parrilla - Fent III

BIO ITA:
Το έργο του Giampaolo Parrilla (1997) εξετάζει το ρόλο των εικόνων σε σχέση με τη γεωπολιτική, τη βία, την εξουσία, τα δεδομένα, και διερευνά τις νέες αισθητικές, την σύγχρονη εικονογραφία και τις κοινωνικές αλλαγές της εποχής.

Τα έργα επεξεργάζονται παγκόσμια νέα, εικόνες πολέμου, χαρτογραφήσεις, βίντεο προπαγάνδας, τάσεις στα κοινωνικά μέσα, τεχνολογίες πολέμου και εκθέσεις ΜΚΟ, μετατρέποντάς τα σε συσκευές που αλλάζουν την εικόνα — εργαλεία διερεύνησης της αντίληψης περιστατικών, των κυρίαρχων πολιτισμικών τάσεων και των εντάσεων ανάμεσα σε κοινότητες, ταυτότητες και αναπαράσταση.

Η έρευνά του μελετά τη σύνδεση μεταξύ νέων συμβολισμών και κοινωνικών διαδικασιών. Επίσης εξετάζει τις συλλογικές αφηγήσεις, τις κληρονομιές ιστορικών κρίσεων και το επαναστατικό δυναμικό του φαντασιακού.

BIO ENG:
The work of Giampaolo Parrilla (1997) explores the role of images in relation to geopolitics, violence, power, and data, and examines new aesthetics, modern iconography, and contemporary social changes.

His works rework global news, images of war, maps, propaganda videos, social media trends, military technologies, and NGO reports, transforming them into devices that alter the image—tools for investigating perceptions of events, prevailing cultural trends, and tensions between communities, identities, and representation.

Her research explores the connection between new forms of symbolism and social processes. She also examines collective narratives, the legacies of historical crises, and the revolutionary potential of the imagination.

ITA:

Fent III: L'Anatomia Computazionale e il Corpo Algoritmico

L’opera prende ispirazione dall'anatomia di un corpo femminile mutuato da immagini d’archivio di donne sulle strade di Kensington, colte nel collasso e nell'abbandono indotto dall'abuso di fentanyl. L’opera conclude la trilogia mantenendo la medesima premessa metodologica e concettuale del concetto di filtro, e ora il corpo subisce una smaterializzazione digitale, venendo processato attraverso un effetto Blueprint metallico e argentato. La texture evoca immediatamente l'estetica raggelata dei rendering 3D realizzati con software di modellazione come Blender o le interfacce tecniche dei programmi di grafica e tipografia digitale.

Questo filtro tecnologico azzera la componente organica del soggetto, convertendo il corpo in una superficie puramente matematica e vettoriale: un'immagine tecnica da sezionare, modificare, ingrandire, ridurre e manipolare a piacimento. La drammatica postura della dipendenza chimica viene così assorbita dalle logiche fredde della progettazione industriale e della simulazione virtuale.

FENT III sposta l'asse della riflessione sulla totale oggettivazione del corpo contemporaneo nell'era del tardo capitalismo e del controllo digitale. Privato della sua storicità e del suo dolore biologico, il corpo della donna diventa un mero prototipo geometrico, un "file" modificabile che mette a nudo l'estrema violenza insita nello sguardo computazionale: quell'attitudine tecnica che riduce l'esistenza vulnerabile a puro materiale plastico da editare e configurare all'interno di uno schermo.

ENG:
Fent III: Computational Anatomy and the Algorithmic Body

The work draws inspiration from the anatomy of a female body derived from archival images of women on the streets of Kensington, captured in a state of collapse and abandonment caused by fentanyl abuse. The work concludes the trilogy while maintaining the same methodological and conceptual premise of the “filter” concept; here, the body undergoes digital dematerialization, processed through a metallic, silvery “Blueprint” effect. The texture immediately evokes the frozen aesthetic of 3D renderings created with modeling software like Blender or the technical interfaces of graphic design and digital typography programs.

This technological filter erases the subject’s organic component, converting the body into a purely mathematical and vector-based surface: a technical image to be dissected, modified, enlarged, reduced, and manipulated at will. The dramatic reality of chemical addiction is thus absorbed by the cold logic of industrial design and virtual simulation.

FENT III shifts the focus of reflection to the total objectification of the contemporary body in the era of late capitalism and digital control. Stripped of its historicity and biological pain, the woman’s body becomes a mere geometric prototype, a modifiable “file” that lays bare the extreme violence inherent in the computational gaze: that technical attitude that reduces vulnerable existence to mere plastic material to be edited and configured on a screen.