Born in 1981 in Lamezia Terme (CZ), Lino Strangis lives and works in Rome. He is a multimedia artist, filmmaker, composer and critic. Already musician, during his university course in Aesthetics, he identifies visual arts as his favorite language and holds his first official exhibition in 2005, at the Museum Laboratory of Contemporary Art of Rome, curated by the Director Simonetta Lux. He has taken part in many international festivals in Italy and abroad as Invideo (Milan), Magmart (Casoria, Naples), VideoFormes (Clermont-Ferrand, France), Proyecto (Madrid, Spain), Fonland (Coimbra, Portugal), Arte Video Roma Festival, Athens Video Art (Greece), CologneOFF (Cologne, Germany and touring), Shortfilm Festival of Budapest. He has participated in prestigious international projects, including The Tower of Peace, by Marco Maria Gazzano, and has exhibited together with some of the historic names of the video art world: R. Cahen, NJ Paik. He has been the only one under-30 in the selection titled Generazioni romane in videoarte from Marco Maria Gazzano within MACRO Video drinks, in autumn 2010. Some of his works are distributed by Visualcontainer (first distribution company of video art in Italy) and he was selected twice by Undo2video. In 2009, he has held his second solo exhibition at the International Center for Contemporary Art Sala 1 and in August 2010 the video Ying Aoyun has been screened at Videoholica as part of Biennal Exhibition of Bulgaria. He builds special environments for its videos, or puts them in an “ad hoc” videosculptures. Since 2010, after his third solo exhibition titled Special Kitchen, he is an artist of the prestigious gallery LipanjePuntin artecontemporanea, which promoted him in the 2011 Art Fair of Bologna. Also active as a multi-instrumentalist and performer, from 2011 he is Artistic Director of C.A.R.M.A. – Applied Multimedia Art and Research Center, and is representing the city of Rome at the Biennale of Young Artists from Europe and the Mediterranean 2011.
Ying Aoyun, 3’43”, 2009
The presentation of the 2008 Beijing Olympics has been a momentous act of self-presentation for today’s China on the global stage. Strangis, with the intention to react critically to what he perceives as propaganda and in an attempt to regain some «[…] personal dimension in the perception of large mass-media events”(Strangis, 2010), captures the image conveyed and spread by this vast country that is emerging on the global scene and re-forms it according to his own feelings. By selecting some very short sequences, which he defined “sensitive interstices of audiovisual products,” he radically reinvents the majestic choreography, starting from sequences re-definition and increasing, during digital post-production, those metaphorical aspects which he is most impressed by: multitude and synchrony.