The Futurist Manifesto’ wished to construct a new aesthetic model which would suit the modern world. The typical representation of that aesthetic was the machine and especially the modern modes of transportation.
The aim of the manifesto was to encourage the driving forces behind those modern technological symbols: Force, Violence, Motion and Speed; in order to release the world from the investigation of the ancient past. Indeed, a large section of the manifesto was dedicated to the idea of ruination of museums and galleries which symbolized archaisms and old sanctifications and called for their destruction as a metaphor for ruination of the old society, a ruination which will release the artists from their blind loyalty to the past. ‘To make a visit once a year, as one goes to see the graves of our dead once a year, which we could allow! We can even imagine placing flowers once a year at the feet of the Gioconda!’
The enchantment from the speed and strength of the machines was translated to the wish for change and to an overall political and social revolution that by the time it comes to an end, a new society will rise. ‘We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed’ writes Marinetti (Poet, Editor and an Italian philosopher, founder of Futurism). ‘A roaring motor car which seems to run on machine-gun fire…’ that warlike aesthetic manifested at the ‘art of war’ – ‘We want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill…’
‘Power, Violence, Motion, Speed’ is an audio-plastic-visual installation which constitutes a futuristic element by it means out of being technology dependent. At the core of the installation lies a digital well; surrounded by fractured urban landscape made out of many angles of structural elements directing at the stock market area in Ramat-Gan. Both elements represent the old times cultural/artistic centre as opposed to the modern one – a source, the well, versus money, connections and go-getters. In the world of Power, Violence, Motion, and Speed, what role does art carry and is it separated in its progression, language and actual being? What place does silence, compassion, slowness and steadiness have in the digital language? Is violence possible in this equation as well?
Duprass is Liora Belford (Video Artist) and Ido Govrin (Sound Artist). In their work they investigate the aesthetic approach by deconstructing the audio-visual narrative using the max/msp/jitter software and implement it in various modes; sound/video art, cross media installations and live performances. Their creation of art is strongly leaning to the aesthetics of minimalism, abstraction, restrained gestures and compassion while introducing utopian art arenas where experimentalism is the core issue.