INTERVIEWS and CRITICS

09\14 – Monthly Selection of Emerging Artists - September 2014 with Rona Kopeczky, WORKS.IO

16\02\13 – A Year of Subversion with Christine Olivier, The London School of Liberal Arts

09\12 – DIPINGERE CON I GRAFFI with Anna Castellari, Eventi Cultura

26\06\12 – VIDEOBLITZ NEGLI STUDI with Helga Marsala, Artribune

15\06\12 – BUONGIORNO VENETO UNO with Emanuele Spironello, Radio Veneto Uno

12\02\11 – NORDEST BOULEVARD with Silvia Gorgi, Radio Sherwood

19\05\09 – MUTATIONS with Dario Francescutto, Radio Onde Furlane

29\04\09 – NORDEST BOULEVARD with Silvia Gorgi, Radio Sherwood

27/04/18 – ARTISTI IN DIALOGO di Eva Comuzzi, Ridotto del Teatro Verdi, Pordenone

04/06/21 – intervista con gli autori di Camilla Ripani, Casa Editrice Anima Edizioni

Enzo Comin (1979, Italy) is a multifaceted artist. While attending courses of aesthetics, painting and photography at the Academy of Fine Arts in Bologna from 1999 to 2003, he also frequented the school of cinematographic direction and video production at the National Academy of Cinema of the city, then took writing, acting theatre and lyric singing courses. As a result of his broad interest for the different fields of art, his activity relies on photography, as well as on installation and performance, and is influenced by the multi-disciplinary relations between images and texts or sound. Exploiting the technical, theoretical and philosophical dichotomy between analogue and digital photography, and rethinking, questioning the role of photography today, Enzo Comin turns mainly to analogue technology to express himself. He currently lives and works in Pordenone.

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The series entitled First Manufactures (2014) is a reportage shot in the Armenian capital. Willing to experience as much as possible the reality of the country, he began to observe the large-scale modernisation program of Yerevan, where the old part was being demolished to give way to and the feverish construction of new giant buildings. Feeling the urge to leave his own professional camera at home and look for „local eyes”, the artist bought an old camera, an old lens and an expired film from the Soviet period on a flea market. This equipment, loaded with the history of the country and used as a filter or experiment allowed him to establish a genuine contact with what he saw. The pictorial effect as well as the blurry and tinted distortions are not the result of his conscious intervention, but arise accidentally from the expiration of the old film and the chemical processes used by the artist when developing the photos. This visual ambiguity turns out to be the poetic formulation of intertwined states and senses of foreignness and familiarity, dialogue and monologue, past and present.

Rona Kopeczky