Yuri Ancarani, an Italian video artist and director, presents his work, “The Sublime of the Real,” at the Kunsthalle Bangkok. The event begins with a screening of the short film trilogy “La Malattia del Ferro” and the film “San Siro,” followed by a discussion with Yuri Ancarani and director Stefano Rabolli Pansera.
Yuri Ancarani’s art transcends and defies categorization as film, exhibition, installation, or documentary. Intentionally transmedial, his art arrives in Bangkok following a series of recent exhibitions featuring his work at the Chengdu Biennale in China and in Hong Kong.
Yuri Ancarani has received numerous international participations and awards in the artistic field.
“Atlantide,” released in 2021, won him the 2022 David di Donatello Award for Best Documentary. He has also participated in numerous film festivals and exhibitions, including the 55th Venice Biennale and the MAXXI in Rome. He teaches video art at the Nuova Accademia di Belle Arti in Milan and has received prestigious awards, including the 2023 ACACIA Prize.
The Italian Cultural Institute Bangkok, in collaboration with Kunsthalle Bangkok, presents Yuri Ancarani’s works, ” La Malattia del Ferro” and “San Siro.”
San Siro, Anatomy of a Stadium. With surgical precision, Yuri Ancarani portrays the cable workers, porters, policemen, stewards, gardeners, TV technicians, and fans who make up the invisible yet tangible workforce behind the business of football, staging a hypnotic still life that accompanies the viewer through every frame as they approach the bus carrying the players, the fans’ favorites.
La Malattia del Ferro consists of three short films: “Il Capo,” ” Piattaforma Luna,” and “Da Vinci.” The three short films are a biting critique of the alienated conditions faced by technicians and workers. The documentary installation allows visitors to enter an intimate, raw, and personal dimension of the workers, thanks to every perfectly crafted detail, such as the final shot of the Luna Platform.
In an interview, Yuri stated: “The only scene I didn’t film was the final one: a subjective shot taken directly from the control camera positioned in the center of the diver’s helmet. The most beautiful scene was filmed by the worker.”
