Diego Marcon


Diego Marcon is an authentic observer and investigator of the real world and of everyday life, and in his videos he delves into the surface of the visible, revealing its most hidden and mysterious dimension. He uses the moving image as a device to reveal a face of the world that is not what our eyes normally see.The subjects of Diego Marcon’s works are images captured in frozen fixity and imaginary worlds shown passing by. They are investigations into the directions that reality strives towards and those it deviates into.

Meadows and valleys, little churches, snow, rivers, parasols and sails, deckchairs and pedal boats appear in his salut! hallo! hello! (2010). These images lead the viewer back to visual memories of reality, encouraging us to question the perception and difference between filtered recollections and lived experiences.The camera dwells on details that lead us to the subtle transition between what exists and its representation. Salut! hallo! hello! makes us wonder exactly when the visible is transformed into the traditional theme of postcards. Storie di fantasmi per adulti (2010), on the other hand, takes us through the furnishings of a mountain home. Shown in all their details, paintings, prints, figurines, stuffed animals and photographs constitute static presences, suggesting the existence of the invisible.The eye peers in and listens, trying to capture signs of life among images that are tightly bound to a distinct space- time dimension, and one that is at times dreamlike.

Over time, the visible appears to be increasingly put to the test by the artist. Pour vos beaux yeux (2013) takes the viewer’s eye and perception to the limit, focusing our attention on the creation of abstraction.This video work is an attempt to capture the instability and inconsistency that are typical of clouds, placing us outside of reality. We are taken from the visible world and lose our way in the realm of the intangible. Diego Marcon’s latest project, a three- act animation called Interlude (introducing Dick the Stick) (2014), starts out from what is apparently a clean slate of white, where everything is to be awoken and raised up. We are initially greeted by the sound of the wind blowing in front of a blank screen, from which a voice emerges: “To the north, nothing.To the south, nothing. To the east, nothing. To the west, nothing. To the centre, nothing.” An absence of images in the second act makes way for some lines that form “at the centre, a tent”. Only in the third act do we find “at the centre, a tent and, in front of the tent, a soldier busy polishing a boot”, better known as Dick the Stick. Freely taken from a memory that Georges Perec uses in his preface to Espéces d’espaces, the work distances itself from reality and enters the realm of fiction.This may be a useful means for finding new directions in our investigation of what is around us, bringing out – and bringing into question – new aspects of the images of everyday life that are so dear to Diego Marcon. Dick the Stick basically does nothing exciting, but the monotonous, repetitive, ordinary action of polishing the boot acquires singular overtones. Dick the Stick’s saga of the everyday world continues in two triptychs, The nap (2014) and The phone call (2014), in this case with adhesive decals and static screens with mundane new poses. The commonplace becomes action and the focus of attention, and a moment on which to rest one’s eyes, thus effectively acquiring a consciousness of reality.

Ilaria Gianni


My artistic research concentrates on the moving image.The starting point for my work is the real world and the process involves an audiovisual recording of reality, which is then rewritten within a cinematic structure.

The moving image is used as a powerful picklock that can scratch the surface of the visible world and reveal its invisible dimension – which is where tensions act on the spaces, objects, bodies and images that are trapped within desires and feelings.

The subjects of my work and the forms they turn into are constantly interconnected, giving rise to a profound questioning of the moving image as a medium and as an event that constantly reveals a dark mystery within it. My work takes shape in the midst of these disturbing feelings, which are also to be found in our everyday experience as individuals. In my effort to get ever closer to this dimension, I have gradually sought to deny the image itself. My aim is to free a space in which its off-screen reality can appear, and to present (rather than re- present) a sense of profound realism that is consistently hidden from our eyes.This encounter between us and the real world has always been missing, and our experience of it is but an echo, like what happens in the morning to the dreams we had in our deepest sleep. It is in this empty space that I first found true fiction and started to open up my work to new processes and renderings.Through these, I can outline new forms to investigate reality.

Diego Marcon


Diego Marcon, Busto Arsizio, 1985. Vive e lavora a Milano – Vive y trabaja en Milán –Viu i treballa a Milan – Lives and works in Milan


2015 Performing Archive, Careof FDV Residency Program, Careof, Milano

2014 VISIO – Workshop on Artists’ Moving Images, con il supporto di Beyond Entropy, Lo Schermo dell’Arte, Firenze

2013 – 2015 Cité Internationale des Arts, con il supporto di Institut Français, Parigi

2013 Centre International d’art et du paysage, Île de Vassivière, Beaumont-du-Lac

2012 BA – Arti Visive, Università IUAV di Venezia, Venezia

2009 Corso Superiore in Arti Visive, Fondazione Antonio Ratti, Como. Visiting Professor: Walid Raad

2006 Diploma – montatore cinetelevisivo, Scuola Civica di Cinema,Televisione e Nuovi Media di Milano, Milano


2013 Pour vos beaux yeux, Gasconade, Milano

SPOOL, ARTSPACE project room, Auckland*

2011 Veglia d’armi, Monotono Contemporary Art, Vicenza*

2010 Plato’s Pharmacy, Uscita Pistoia, Pistoia / perarolo09, Perarolo di Cadore*


(selección / selezione / selecció / selection)

2015 Être chose, Centre international d’art et du paysage / Treignac project, Île de Vassivière eTreignac

GLITCH at OCAT Shanghai, OCAT Shanghai, Shanghai

Prologue to a fiction of a space that does not yet exist, ODD, Bucarest

Displacements.The trouble with being human these days, Ex Elettrofonica, Roma

2014 GLITCH, Interferenze tra Arte e Cinema, PAC Padiglione Arte Contemporanea, Milano*

Un rumore bianco, Assab One, Milano

Keep it Real, Ventura XV, Milano

Helicotrema – Recorded Audio Festival, Viafarini / DOCVA, Milano

Kunstenfestival Watou, Watou* An exhibition with ceramic,

Portmanteau, Ginevra

FactionalTales. Die neue Generation, VideoEX, Zurigo

SPOOL cycle, XXII Udine International Film Studies / FilmForum, Udine e Gorizia

2013 OneThousand Four Hundred and Sixty, Peep-Hole, Milano

Helicotrema – Recorded Audio Festival, MACRO / Auditorium Parco della Musica, Roma

Collection Sandretto Re Rebaudengo: A Love Meal, Whitechapel Gallery, Londra

Premio Menabrea, curato da Untitled Association in collaborazione con CURA, Roma

MOVIN’UP, II sessione 2012,

Direzione Generale per il paesaggio, le belle arti, l’architettura e l’arte contemporanee / GAI – Associazione per il Circuito dei

Giovani Artisti Italiani

Les centres d’art font leur cinéma, Nuit Blanche 2013, Pavillon Carré de Baudoin, Parigi

SPOOL, Auditorium di Ancona, Ancona

Screening, Luru Kino, Lipsia Two films by Diego Marcon,The

Interview Room, Londra

2012 XXIV Premio Nazionale Arti Visive, MAGA – Museo Arte Gallarate, Gallarate / FIEA – Le Primtemps de Septembre, Palais des Arts,Tolosa*

Helicotrema – Recorded Audio Festival, Serra dei Giardini, Venezia

Long Play – XXIV Premio Nazionale Arti Visive, MAGA – Museo Arte Gallarate, Gallarate*

FilmmakerFest, sect. Archivi, Milano *

2011 To see an object, to see the light, Palazzo Re Rebaudengo, Guarente d’Alba*

Io non ho mani che mi accarezzino il volto, White Fish Tank, Ancona

Opera 2010, Fondazione Spinola Banna per l’Arte, Poirino*

Session_15_Press Release, BolteLang, Zurigo

Beyond the Dust – Artists DocumentsToday, Fondation d’entreprise Ricard, Parigi*

Se vuoi che questa storia continui…., neon>campobase, Bologna, MAN, Nuoro (2010) e V

Biennale di Praga, Praga*

2010 Moroso Prize for Contemporary Art, GC.AC Monfalcone, Monfalcone*

Video Report Italia 2008_09, GC.AC Monfalcone, Monfalcone*

Beyond the Dust – Artists DocumentsToday, La Fabbrica del Vapore, Milano / De Kabinetten van de Vleeshal, Middelburg*

Bosch Young Talent Show, AKV St. Joost, ‘s-Hertogenbosch*

Pastorales, Galerie ACDC, Bordeaux

You – We + Ablo, 25 video dalla collezione Sandretto Re Rebaudengo, Rotonda della Besana, Milano*

Workshow, Fondazione Bevilacqua La Masa, Venezia*

Filmmaker DOC15, sect. Milano metropoli, Milano*

focus on>diego marcon, neon>campobase, Bologna

Loop Video Art Festival, Barcellona

2009 We can be heroes, Galleria 1000eventi, Milano*

A camel is a horse designed by a committee, Fondazione Bevilacqua La Masa / Fondazione Caludio Buziol, Venezia*

Details, Galleria La Veronica, Modica

Dena Foundation for Contemporary Art, con il supporto del Comune di Milano, Parigi/Milano

Right to the city, IABR International Architecture Biennal Rotterdam, NAI, Rotterdam

Truth or Consequences Film Festival,T or C, New Mexico

Pattini d’argento & She LovesYou at Minikino, Minikino, Berlino

VIDEOit, A bridge over the Mediterranean, Festival of artists videos and contemporary dance, sect. Videos from Italy, Fondazione Merz,Torino*

Officinema Visioni Italiane, sect. Visioni Doc, Bologna*

2008 In prima persona, FilmmakerFest DOC13, con il supporto di Regione Lombardia, Provincia di Milano e Comune di Milano – premio di produzione

Filmmaker DOC13, sect. In prima persona, Milano*

Gender Bender 08, sect. Arti Visive, Bologna*

Art vs Porn, Nosadella due, Bologna

2007 Paesaggi Umani, FilmmakerFest DOC12, con il supporto di Regione Lombardia, Provincia di Milano e Comune di Milano – premio di produzione

Filmmaker DOC12, sect. Paesaggi umani, Milano*

Milano Film Festival,

Competizione Internazionale, Milano*

* catalogo


Artwork in Exhibition