A group of non-professional performers enters public or private space, acting out laughter tracks composed by the artist from movie, television, Internet and amateur recordings. Acting as director and composer, the artist will give each actor in the work instructions about the laughter that they will perform, and stage directions of their position within public space. Each performer will only be aware of their individual instructions, the composition taking shape and experienced both by the performers and the audience for the first time during the action itself.
In FILM the fluctuating group of performers will move in a whole city performing the compositions in a visible and non-visible ways, depending on the typology of the score. The off-screen laughing choir from cinema and television here take centre set as the subject of the work, their laughter not only acting as a backing track to the scenarios unfolding, but directly effecting them. The gesture of bringing the recorded element of the laughter into everyday life, as a fragment of a film that comes back to reality, taints daily actions in a real world context as a filmic experience in time and space.
FILM is a fragmented scene whose main subject is laughter that is at once Ironic, terrific, terrifying and aggressive. It’s an irreverent and conditioning form of power that could be used as moment of interruption to question forms of power.
"I intend to develop a stratified and structured work starting from my direct experience, in order to achieve a fragmented language, based on questioning authorship through the visualization of objects and narrations. These works materialise in different forms and through various techniques, often shorting the gap between content and context. I’m interested in establishing relationships between fiction and reality, between representation and presentation, through mediums that require a direct response from spectators ranging from an image, a film, or a newspaper advert. Whenever I’m focusing on revealing and putting into question the situation in which I find myself – bringing a situation to reality or pushing reality to fiction – what interests me is the gap between the seen and the not seen and one of my key aims is to confront viewers with this gap directly or indirectly. I’m exploring ways to construct staged situations in which the spectator can enter, even if it isn’t directly related to art. That becomes possible within the work not only by acting in agreement with reality but rather reacting to it, revealing or undermining weaknesses that can be transformed in resources."
Diego Tonus (1984, Italy) lives and works in Amsterdam. He is currently a participant of The Sandberg Institute, Amsterdam and previously studied Visual and Performing Arts at IUAV University, Venice. Forthcoming exhibitions include Out-of-_________ (curated by Leila Khastoo), Michael Benevento Gallery, Los Angeles, US (2012). Diego has recently been part of exhibitions and events such as Transitions (curated by Emile Zile, Theus Zwakhals and Petra Heck), NIMK, Amsterdam, The Netherlands (2012); Hour of the wolf, Film projection at Danish Pavilion – Giardini Biennale, Venice, Italy (2011); Global House Video Screenings for 3rd Gwangju Biennale International Curator Course (directed by Ute Meta Bauer), Kunsthalle Gwangju, South Korea (2011); Annual exhibition 2011, Spinola Banna Foundation, Poirino, Italy, (2011); Effetto Venturi - Hour of the wolf: projection and discussion with Liliana Moro (curated by Peep Hole), Oberdan Theater, Milan, Italy (2011); A monument to Stradivari (curated by Ettore Favini), CRAC, Cremona, Italy (2011); Archive & Counter Archive (curated by Lorenzo Bruni), Dryphoto & Monash University, Prato, Italy (2009); Iuav al MAXXI (curated by Angela Vettese and Cornelia Lauf), MAXXI, Rome, Italy (2008); Spritz Time! (curated by Milovan Farronato), Bevilacqua La Masa Foundation, San Marco, Venice, Italy (2007) and The private eye: a prologue (curated by Nicolas Bourriaud), Museum of Modern Art, Ljubljana, Slovenia (2006).