Parameter
- 80 Seiten
- 3 Lesestunden
Mehr zum Buch
„Mondo Veneziano. High Noon in the Sinking City“ addresses a wide variety of theoretical discourses currently on the contemporary art agenda, confronting them with a series of unexpected and spectacular events. Cast in an abandoned Venice, „Mondo Veneziano“ narrates a meeting of four protagonists, representative of key players in the art world, who appear to conduct a complex theoretical debate. But their soliloquious confrontation – an insidious patchwork of quotations from recent specialist literature, paraphrasing the widely used „post-modern“ technique of sampling – is interrupted by a string of bloody killings, largely inspired by common cinema genres such as gore or splatter movies. The Venice that serves as a backdrop to the characters' intellectual and physical joust is in reality a large-scale film set located in a southern town in Luxembourg, which has served in numerous feature films. „Mondo Veneziano“ does not attempt to conceal the backlot; rather, the city itself becomes something of a quotation, much like the protagonists, who are depicted as actors rehearsing their comic-style figures for a final showdown. Alternating sinuous discursive phases with resolute physical action, „Mondo Veneziano“ is a part serious, part caustic comment on a professional milieu.
Buchkauf
Mondo Veneziano, Antoine Prum, Gerrit Gohlke, Mitch Cohen
- Sprache
- Erscheinungsdatum
- 2005
- Einband
- (Paperback),
- Buchzustand
- Gebraucht - Sehr gut
- Preis
- 5,29 €inkl. MwSt.
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- Titel
- Mondo Veneziano
- Autor*innen
- Antoine Prum, Gerrit Gohlke, Mitch Cohen
- Erscheinungsdatum
- 2005
- Einband
- Paperback
- Seitenzahl
- 80
- ISBN10
- 3865881203
- ISBN13
- 9783865881205
- Reihe
- Beschreibung
- „Mondo Veneziano. High Noon in the Sinking City“ addresses a wide variety of theoretical discourses currently on the contemporary art agenda, confronting them with a series of unexpected and spectacular events. Cast in an abandoned Venice, „Mondo Veneziano“ narrates a meeting of four protagonists, representative of key players in the art world, who appear to conduct a complex theoretical debate. But their soliloquious confrontation – an insidious patchwork of quotations from recent specialist literature, paraphrasing the widely used „post-modern“ technique of sampling – is interrupted by a string of bloody killings, largely inspired by common cinema genres such as gore or splatter movies. The Venice that serves as a backdrop to the characters' intellectual and physical joust is in reality a large-scale film set located in a southern town in Luxembourg, which has served in numerous feature films. „Mondo Veneziano“ does not attempt to conceal the backlot; rather, the city itself becomes something of a quotation, much like the protagonists, who are depicted as actors rehearsing their comic-style figures for a final showdown. Alternating sinuous discursive phases with resolute physical action, „Mondo Veneziano“ is a part serious, part caustic comment on a professional milieu.