Introduction

INTRODUCTION APOCALYPSE’S TALES is an analog collage project started in 2014. I assembled my post-surrealistic collages with old magazines and old books in general. I mainly collect images of nature, (vintage) current events and history of art images.

When I cut my little pieces of paper I don’t think about the final result. I follow a mysterious energy and then at the end of the process, I meet the image. It’s like being on another level of reality, I think this is something that happens to every artist.

APOCALYPSE’S TALES is the story of a delirious, destructive, monstrous world: it’s the world where we live in today, made of war and violence, extreme consumerism, unfair capitalism.

My illustrated tragicomedy is about this kind of chaos, in a fantastic and surrealist key, of course. When, last spring, I met at my atelier Paolo Cardinali, Alessandro Ciccarelli and Danilo Palmisano (Fugazine and MonkeyPhoto Zine’s editors) to talk about producing a fanzine about my work, we found interesting the possibility of the dialogue between my current project and the material from my archives. We have therefore selected the images that enhance and clarify the meaning of the project itself, creating in this way a fanzine that was, in a manner of speaking, a metacollage.

The rhythm of the fanzine is whirlwind, without pauses, without white spaces. In our video, made by the videomaker Sonia Monaco (aka Geremia Fischvogel), this swirling rhythm is enhanced by the inclusion of moving images. The metacollage meets now the found footage and many very evocative sounds. What I love about collaborations with other artists is that they enrich the deep meaning of your work. And my work is an act of resistance to the apocalypse.

About this project I would like to quote a passage from a text by Italo Calvino:

“The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of inferno, are not inferno, then make them endure, give them space.” (Italo Calvino, Invisible Cities)

Francesco Viscuso (IG) is an Italian collagist, photographer and ephemeral designer. APOCALYPSE’S TALES was presented during Slideluck Gazebook.

Multimedia Tips

Sonia Monaco’S ANSWERS (video maker):
a. What program was used to create the multimedia?

Premiere Pro and Adobe Photoshop software have been used for this project

 

b. How and why did you choose that sound/music?

The soundtrack featured overlapping original audio tracks, with the generation of chaos by increasing pitch and volume and the final fade-out with Mozart’s Requiem Lacrimosa music.The choice of soundtrack proceeds in parallel with video editing: The topic is apocalypse, the apocalypse is Chaos and Chaos, when climaxed, should have been disappeared somehow.That’s the reason to conclude the video with the Requiem, associated with the image of migrating birds that fly: the celebration of a death that is no longer a loss, but rather a liberation from chaos, a purification that allows to return to the origin, to restart towards an unknown future, perhaps a better one.

 

c. Tell us about the editing process when you think of a multimedia.
As far as I’m concerned, the video editing doesn’t have a standard procedure, there are so many variables to be taken into consideration, that it’s hard to generalize in this specific project. I have strictly complied with the chronologic images sequences available in the fanzine. There are Francesco’s collages and repertoire materials, chosen with the publishers Paolo and Danilo. I have collected all of them, assembled, animated and given a rhythm, according to the mood of the fanzine. Basically, I have shaped the still life of the press and convert it in audio and movement such a video should be, creating a kind of exchange, between them like a dialogue.


 

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Francesco Viscuso – APOCALYPSE'S TALES

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