Eleonora Sovrani’s Journal

About


Born in Ferrara, obtained a Master degree in Visual and Multimedia Communication at the Architecture University of Venice.

She worked as researcher and curator assistant for several exhibition projects and publications such as Done.Book, presented at the 12.Biennale of Architecture in Venice, Die Vermessung des Unmenschen [Surveying the Non-Human], presented in 2016 at the Staatliche Kunstsammlungen, Dresden, Tous contre le spectacle [Everybody against the spectacle], opened in 2017 at the Arsenale Institute for Politics of Representation in Venice, Prendiamo la parola, esperienze dal ’68 in Friuli Venezia Giulia [Let’s speak ourselves, experiences from ’68 in Friuli Venezia Giulia], which took place in Udine and Trieste in 2018.

She curated the exhibition The Most Dangerous Game together with Wolfgang Scheppe and Roberto Ohrt, opened in September 2018 at the Haus der Kulturen der Welt in Berlin.

As an independent researcher and film director she primarily deals with interstices and paradoxes that hide in-between physical reality and its variations, created and modified by media technologies. Since 2014 she collaborates with the music group The Mechanical Tales on several site-specific projects, dealing with experimental live video. In 2016 she started to actively cooperate with the no profit association We are here Venice.

Her works have been exhibited and screened in various EU cities as well as in Australia and Lebanon. She is actually based in Berlin and Venice.


Il n’y a pas d’amour de vivre sans désespoir de vivre.

La Chute, Albert Camus

Dans cet espace mouvant du jeu, et des variations librement choisies des règles de ce jeu, l’autonomie de lieu peut se retrouver, sans réintroduire un attachement exclusif au sol, et par là ramener la réalité du voyage, et de la vie comprise comme un voyage ayant en lui-même tout son sens.

La Société du Spectacle, Thèse n° 178, Guy Debord

What we call “the present” is not a perpetually fleeting point on a line “through time”, but a collage of disparate times, an imbrication of shifting and contested spaces.

In/Different Spaces: place and memory in visual culture, Victor Burgin

Enjoy your body, use it every way you can. Don’t be afraid of it, or what other people think of it. It’s the greatest instrument you’ll ever own.

Dance. Even if you have nowhere to do it but in your own living room.

The Big Kahuna, Roger Rueff

Loin des nôtres, de notre langue, arrachés à tous nos appuis, privés de nos masques […], nous sommes tous entiers à la surface de nous-mêmes. Mais aussi, à nous sentir l’âme malade, nous rendons à chaque être, à chaque objet, sa valeur de miracle. Une femme qui danse sans penser, une bouteille sur une table, aperçue derrière un rideau: chaque image devient un symbole. La vie nous semble s’y refléter tout entière, dans la mesure où notre vie à ce moment s’y résume.

L’envers et l’endroit, Albert Camus

[…] il potere non è creativo, e i ricchi si annoiano. Possiedono tutto tranne che loro stessi. Ed è logico. Per trovare se stessi bisogna lasciare tutto, e loro al contrario si stanno appropriando di tutto.

Quando Teresa si arrabbiò con Dio, Alejandro Jodorowsky

In China we used to say that there are two ways to have a greater vision: one is to go to the top of a mountain to see the rest of the world; the other is to leave the mountain to observe its totality. The key is to keep moving. In this case, you can have various views for the same event and you can obtain a deeper view from different events.

Chen Zehn

La disposizione circolare delle capanne attorno alla casa degli uomini è di una tale importanza per quanto concerne la vita sociale e la pratica del culto, che i missionari salesiani […] hanno capito subito che il mezzo più sicuro per convertire i Bororo consisteva nel far loro abbandonare il villaggio per un altro in cui le case fossero disposte in ranghi paralleli.

Tristi Tropici, Claude Lévi Strauss

Attention is the rarest and purest form of generosity. — Simone Weil