invernomuto — Wireframe B477 copy 1

INVERNOMUTO

BIO

Invernomuto Simone Bertuzzi and Simone Trabucchi have been collaborating as Invernomuto since 2003.

Invernomuto is the name of the artistic personality created in 2003 by Simone Bertuzzi (Piacenza, 1983) and Simone Trabucchi (Piacenza, 1982). They work and live in Milan. Invernomuto is the author of a series of research projects structured in time and space, from which cycles of interconnected works derive. On a common theoretical basis, Invernomuto tends to think in an open and rhizomatic manner, developing different outputs that take the form of moving images, sounds, performative actions and publishing projects, within the framework of a practice defined by the use – as diffuse as it is precise – of different media. Reality is observed according to documentaristic principles and interests, but for the purpose of creating an imaginative and almost abstract representation, which offers wide margins for reflection and critical interrogation.

In particular, Invernomuto investigates subcultural universes, moving through different practices, in which the vernacular language is one way of approaching and appreciating oral cultures and contemporary mythologies, observed with a gaze that aspires to be cross-fertilised and regenerated by it. The declared inauthenticity of some of the materials used plays a fundamental role in this process, which underlines not only the real but also the fictitious and distorted nature of the realities that Invernomuto explores. Both artists also develop individual lines of research, with the musical projects Palm Wine and STILL.

Extended Biography

2016

THE PROJECT AT GLUCK50

Installation view at Gluck50, 2016

CALENDOOLA: UTU

The result of Invernomuto’s residency at Gluck50, Utu, is the pilot episode of Calendoola, a cycle of works that avails itself of the structure and production processes of a television series to create a world that uses fiction to narrate reality. The episode was developed and filmed entirely within the spaces of Gluck50.

The narrative framework comes from a loosely adapted screenplay of the trilogy of news stories Ngati Dread by journalist Angus Gillies, which recounts the events that took place in the town of Ruatoria in New Zealand between 1985 and 1990. In short: the conflicts between the inhabitants of the village and a group of Maori rastafarians.

The text sparked the interest of the artists insofar as it is a container of the archetypal dynamics of conflict between the displaced and the presumed owners of a small tract of land. While it is the ‘abstractability’ of the concept of ‘land’ – and of the relationships that it generates in the communities it hosts – that makes the transposition of the subject of Calendoola possible on the one hand, there is no shortage of esthetic, linguistic and political details on the other.

It is the exaggeration of the staging (thanks in part to the massive use of post-production effects) that adds layers of complexity to the interpretation of real events: the result is a hybrid between the two, or an intermittent sequence in which one takes the place of the other without interruption.

Calendoola
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