Cuneaz Giuliana

Interview by Fanny Bauguil (VIDEOFORMES relay teacher) and Manon Derobert (VIDEOFORMES communications manager)

• How would you describe this installation? What do we see? What do we hear? What do we do?

I Cercatori di Luce is an immersive video installation projected onto three screens, lasting around 30 minutes. The work combines cinema, dance, theater and performance. All the characters are real, while the landscapes are virtual, created in 3D. It’s difficult to define exactly what one sees or hears, as the work was conceived as an individual, immersive experience. There is no real plot, but rather a flow of images traversed by characters performing concrete actions. There is no dialogue, but sounds, music and dance (the costumes were designed and handmade by myself, in collaboration with scenography students) that give rise to a collective ritual, also engaging the spectator on an emotional level. The transition from darkness to light is subtle, almost imperceptible, but as the actions unfold, everything tends to transform in an evolutionary process leading to a new dimension where solidarity and mutual acceptance prevail. In short, all that’s left to do is watch and listen, trying to grasp the many messages the work contains. The film is accompanied by music by Paolo Tofani, a former member of Area (International POPular Group), one of the most experimental groups of the 1970s. Numerous protagonists take part in the work, including the great Spanish actress Angela Molina, who has worked with directors such as Luis Buñuel and Pedro Almodóvar. Also featured are Aida Accolla, former principal dancer at Milan’s Teatro alla Scala; Giulia Staccioli, choreographer, director and founder of Milan’s Kataklò Academy; model Aurora Talarico; and art historian Bruno Corà.

• What’s it about?

The work conveys a social message. Each individual is absorbed in the quest for the light needed to regenerate nature. There are many identities, seemingly from different cultures and eras, but all living together in harmony with themselves and others. The work addresses three main themes: ecology, identity and work. Among the installation’s components are large rotating sculptures, symbolizing stars in childbirth, which produce precious diamonds as regenerative elements. A mill is also present, collecting water and transforming it into energy to power the planet. Slowly, the darkness fades, and by the end of the projection, a multitude of children are waiting to build a New World.

• Is this the first time this installation has been presented to the public? Can you tell us a little about the process involved in creating the work?

The video installation has already been presented at the Palacinema in Locarno, the Meet Digital Culture Center in Milan and Cyfest in Yerevan, Armenia. However, this is the first time it has been shown in France. It’s a very elaborate work, which took three years to complete. The creative process can be described as follows: it all began with the storyboard and screenplay, followed by the search for a producer and technical partners, and the building of the crew. Once these steps were completed, I began the executive phase, characterized above all by the 3D modeling of all the scenes. I then proceeded with casting to select the characters and assign them roles. At the same time, I designed the costumes and props, and collaborated on the choreography and music. It was only at this stage that the green screen shooting began, with my directing work integrating the interactions between the real characters and the virtuality of the 3D landscapes. The shoot lasted around ten days, followed by a lengthy post-production phase. This involved several complex stages, including pre-editing on three screens, compositing, editing, color optimization and correction, special effects and animation, audio editing and end titles.

• Which artists (in all fields) or, more generally, which art forms feed your creative process, and what references, if any, do you allude to in this installation?

I conduct my research on my own and, in general, I move with great freedom, even in fields seemingly far removed from art, such as science or anthropology. I consider myself a curious person, with a multitude of interests. As a child, I designed costumes and dreamed of doing theater. As far as art is concerned, I like works that stir my emotions and make me think. I prefer works that surprise me and take experimental paths. On the other hand, I’m not interested in works that are purely pop or content-driven, or in the “special effects” that can result from the use of digital technology. I Cercatori di Luce has no specific aesthetic references, although I have drawn inspiration from past cultures. I have often found inspiration in atlases of lost cities, as well as in images derived from nanotechnology. My passions for magic and the world of fantasy are also present, although I’ve always avoided referring to surrealism. Generally speaking, there are many artists I appreciate. Among the masters of the past, I would mention Giorgio de Chirico, Paul Klee and Vincent van Gogh. In 2005, I dedicated one of my first 3D videos, Les Mangeurs de pommes de terre (I Mangiatori di patate), to van Gogh.

Among contemporary artists, I’m fascinated by the work of William Kentridge and Pierre Huyghe, but I can also be inspired by works by younger artists. At the last Lyon Biennale, I found the work of Slovakian artist Robert Gabris particularly interesting. Art has no age: a beautiful work is immortal.

• What were the difficulties, constraints, challenges… encountered during the development of the project?

I Cercatori di Luce was a very difficult project. I consider this work to be my own Sistine Chapel… The main difficulty was certainly obtaining funding and finding partners interested in its realization. Fortunately, the project met with immediate approval, and many people supported me. Contact with CISA – the International Conservatory of Audiovisual Sciences in Locarno – was crucial, as it enabled me to shoot the film. Finding actors was also a complex process, but I managed to involve Angela Molina, who embodies the film’s central character. Collaborations with Milan’s NABA (New Academy of Fine Arts) and Milan’s Kataklò Academy, directed by Giulia Staccioli, as well as a meeting with the great dancer Aida Accolla, were also decisive. The latter, after more than thirty years, came back to dance especially for me. On a technical level, the production was a real challenge.

More broadly, my work has always represented a form of challenge, because I’ve never wanted to conform to or repeat previously assimilated patterns. I’ve never imposed limits on myself, which has led me to create works that seem very different from one another. This has not always led to immediate recognition of my style. I’ve never tried to please others, nor thought about the market. This independence has sometimes caused me difficulties in carrying out my projects. But I’m proud to have followed this uncompromising path. To undertake such work, you need immense passion, tenacity, consistency and confidence in your own path. You have to face up to the loneliness and skepticism of many people, and never give in to the temptations of money or easy success.

• Can you give us one or more web addresses where we can see your work?

You can visit my website www.giulianacuneaz.com and follow my activity on Instagram via the account giuliana_cuneaz.

• Some keywords that would fit in well with your installation?

3D, nanotechnology, video-installation, dance, theater, music, costumes, actors, light, darkness, regeneration, sustainability, cultures, ecology, energy, community, solidarity.

• A few words about your artistic career? When did you first become interested in digital art? Do you manage to make a living from your creative activity?

I started in my teens and haven’t stopped since. My first works were environmental installations. Later, I produced a number of video works, frequently mixing this language with other installation techniques. In 2003, I started working with 3D, and since 2023, I’ve been using artificial intelligence. I’ve always enjoyed creating dialogues between the material and virtual worlds, establishing relationships between them to generate new synergies, sometimes unpredictable even for me. Although my research is very consistent, the themes I tackle vary. At certain times, it’s science-related subjects that dominate, while at others, it’s those connected to the magical and imaginary world. For me, there’s no contradiction: both contain secrets and great mysteries… I could define myself as an artist and interpreter of mystery. Concerning your question about making a living from my creative activity, I can tell you that I’ve been making a living from it since 2002, although it hasn’t been without its difficulties. Before that, I supplemented my research with other activities. I was a teacher and worked with the Regional Archaeological Museum of Aosta.