SPECTRE is an artist collective, founded in Italy in 2011 by Stefano Moscardini and Enrico Viola.

The collaboration between the two founders of SPECTRE dates back to their musical experimentations during the 90s, but it's just during the Borderline Biennale [1] at the Demeure du Chaos in the summer of 2011 that they have their debut in the world of art with the performance Danse Neurale [2]. Brought on stage and developed with Lukas Zpira, curator of the Borderline Biennale, the central aspect in Danse Neurale is to bring flesh, plastic and steel on stage together, make them complementary and let them express together as if they were a single organism. Lukas’ body is equipped with a series of wireless sensors: an EEG headset, a breath microphone and a modified stethoscope; moreover two flesh hooks are inserted under his skin and connected to a winch. As the biometric signals are collected, they are sent to the software, where they are parsed in real time and used to drive both the audio and the visuals; when the winch starts to pull Lukas’ flesh, it generates a neurological response that, in turn, becomes a biomechanical feedback: two huge wings made with his own EEG graph grow from his shoulders, start to flap and lift his body off the ground.

Directly descending from Danse Neurale, the following performance by SPECTRE is Isosmosi [3], a collaboration with Italian performers Mutant Squad. A flow of energies between the two main performers is represented using two different EEG headsets to drive music and the graphic representation of "energy bubbles" separately.

SPECTRE is known for its use of the super-villainesque metaphor as a mean to inform the public of its artistic efforts. The name itself is inspired the homonym SPECTRE, the terrorist organization of the early James Bond movies.

The artistic language of SPECTRE makes a heavy use of technology both as a signifier and a signified, often relying on self-developed software-driven videos and software-generated graphics. Technology this way becomes more than just a medium: the self taught mastery of the technology they use and create naturally transforms software and hardware into meaning.

Another point of interest of SPECTRE's work is the interaction between the audience and the artwork, a theme that's been explored in many works. In Guardami (Look at me), a living portrait in which the subject actually calls for attention and when it's given some turns back, and Wenn du lange in einen Abgrund blickst, a mirror in which people images are reflected with eyes closed, the presence of the audience brings the artwork to life.

In Self Portrait, a synthetic living organism with a vascular system containing the blood of both the artists and that reacts with fear to the audience proximity, the theme of interaction is brought to a more intimate level. The presence of other people is felt as a menace, even by man-made synthetic life.


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