Nomadica is a network for experimental cinema and visual arts, aimed at promoting and circulating autonomous bodies of work.
Nomadica è un circuito per il cinema sperimentale e d’artista, sostiene la creazione e la circolazione di opere autonome.Read More
A weekend-long, non-stop marathon on the occasion of the “Day of the Dead”; meetings and clashes, screenings and reactions, sounds and visions: dozens of international films’ and Italian premieres, a distillation of the most interesting contemporary experimentations.
Seminars, focuses, Space itineraries – in various shapes and formats, from night to day and from day to night. Spazio Menomale, dug towards the centre of the earth, turns into an art gallery and a perpetual theater where you can sink, a perception room in which there is no time to find, filled with routes and crossroads that become – as always in Nomadica’s experience – the artwork itself, unique, displaced and displacing, irregular and not (always) screened-off. Underground chaos where “the everlasting shape of life” resides.
THE PROGRAMME (from day ‘till night)1 NOVEMBER
h10.00 / 13.00
Atelier • New Powerful Eyes
h16.30 • BLOCK 1_ 47mn
h17.30 • BLOCK 2_ 54mn
h19.00 • FOCUS V
h21.30 • BLOCK 3_ 54mn
h22.30 • BLOCK 4_ 45mn
h23.30 • BLOCK 5_ 39mn2 NOVEMBER
h10.00 / 13.00
Atelier • Stories of vision
h16.30 • BLOCK 4 rerun 45mn
h17.30 • BLOCK 5 rerun 39mn
h18.30 • BLOCK 6_ 40min
h19.30 • FOCUS W
h21.30 • BLOCK 1 rerun 47mn
h22.30 • FOCUS X3 NOVEMBER
Breakfast with Cinéma Fragile
h16.30 • BLOCK 3 rerun 54mn
h17.30 • BLOCK 6 rerun 40mn
h19.00 • FOCUS Y
h20.00 • BLOCK 2 rerun 54mn
h22.00 • (outer) SPACES
h23.30 • ?????4 NOVEMBER
Breakfast with MOVIMCAT
PREVIEW _ 31 OCTOBER
h20.30 – Cineteca di Bologna
Out of programme – OOP
h24 Spazio Menomale
PREVIEWBLOCK 1BLOCK 2BLOCK 3BLOCK 4BLOCK 5BLOCK 6FOCUS VFOCUS WFOCUS XFOCUS Y(outer) SPACESATELIER 1&2BREAKFAST 1&2OOP
31 ottobre 2018 ore 20.30 Cineteca di Bologna
Prima proiezione pubblica del film
LA LUCINA un film di Fabio Badolato e Jonny Costantino, con Antonio Moresco e Giovanni Battista Ricciardi
tratto dall’omonimo romanzo di Antonio Moresco
Alla presenza dei registi e degli “esordienti” protagonisti.
Vai alla pagina del film
the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo ReChristopher Becks and Emmanuel Lefrant, I don’t think I can see an island
France | 2016 | 4′ | 35mm to HD | ita premiere
A Film of Symbolically Authentic Non-Euclidean Adventures.Luca Ferri, AB OVO
Ita-Marocco | 2017 | 25’ | Super8 to HD
In a desert and hostile paradise, between mountains of sand and solitary camels in perpetual journey, life is renewed with a promise of love in the shade of a lone tree. Adam and Eve have a chance. The last chance to heal and create a new progeny of more decent human beings. Nine long takes in super 8mm colour in which we took Adam and Eve and had them redo everything over again, from the scratch.
Albert Alcoz, Espectro Cromatico
Sp | 2015 | | 3’ | Super8 to HD | ita premiere
Color Spectrum shows the comings and goings of passersby on a boardwalk. Multiple exposure and color filters transform human figures in ghostly presences of variable color shades.Stefano Miraglia, Rodez
Fr | 2017 | 3’ | HD 4:3 | silent
An exploration of the Rodez Cathedral. A study on colour, repetition and flickering, composed of 292 photographs.Stefano Miraglia, Ramusiana
Fr | 2017 | 4′ | HD 4:3 | silent | ita premiere
A universal map of the newly found part of the world. A homage to Italian geographer Giovanni Battista Ramusio.Stefano Miraglia, Anoche
It-Uk | 2017 | 7’45’’ | HD 4:3 | sound | ita premiere
Cuando Roma sea polvo, gemirá en la infinita
noche de su palacio fétido el minotauro.
When Rome is dust the Minotaur will moan
Once more in the endless dark of its rank palace. – Jorge Luis Borges, La noche cíclica
(in presence of the author)
the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo ReDan Browne, Palmerston blvd
Can | 2017 | 15’ | 4K | ita premiere
An intimate portrait of a bay window recorded over the course of a year. Gradual shifts in the interior and exterior environments mark the passing of the seasons, a slow dance of objects and light juxtaposed by the rapid speeds of bodies and the urban landscape, revealing the processes inherent in all things.Pietro Librizzi, Softman
It | 2016 | 17’ | HD
Two young men wake up and find difficult to take decisions under the comfort of shade and the tyranny of a beautiful sea.
(in presence of the author)James Edmonds, Overland
DEU | 2016 | 22’ | Super8 to HD
Structured in three parts, Overland evokes an enigmatic landscape of forms, substances, creatures and memory through a hand-edited super8 colour collage of personal material shot over one year.
the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo ReNazli Dincel, Between regarding and use
Turk | 2018 | 9’ | 16mm to HD | ita premiere
“Exhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject. The first order of business is therefore to examine critically the conventions guiding ethnographic display…”
B. Kirshenblatt-Gimblett, 1998 • (in presence of the author)Mierien Coppens, Carry on
Belgium | 2017 | 12’ | 16mm to HD | silent | ita premiere
Individuals wait, silence is heard, a microscopic attention trough a tired mass. If the film is almost mute, it is because it focuses on silent figures, although their struggle is deafening.John Woodman, The separation
UK | 2017 | 7’ | HD | silent | ita premiere
THE SEPARATION is a reflection on light, duration and transformation. Filmed in one continuous take at a constant aperture, moonlight on the sea surface is intermittently revealed and obscured by clouds, presenting a reflexive and phenomenological viewing experience. The title refers metaphorically to Genesis.Takashi Makino, On generation and corruption
Japan | 2017 | 26’ | HD | ita premiere
Inspired from Aristotle’s “On Generation and Corruption”. After the screening at Athen (In Mute Festival 2015), I had important conversation about Aristotle with one of old lady from audience. We talked about materiality of Cinema. We also talked about the construction of cinema itself already has similarity of life and time. Cinema never exist. They just keep doing Generation and Corruption. The situation is also similar with the construction of life and civilization. Then I decided shooting this film. All of images were shot in Japan. Image will continue to repeat the appear and disappear like a infinity loop.
the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo ReMary Helena Clark, Delphi falls
USA | 2016 | 20’ | HD | ita premiere
In Delphi Falls, two youths wander through the woods, looking for a missing person. A tree falls without cause, a voice is thrown, the weather defies the season, unsettling the rational and linear trajectory of the feint of a story. Evoking the sci-fi genre, the film constantly shifts its point-of-view, blurring the distinctions between environment and self, grafting an interior space to the landscape.Marta Mateus, Farpões Baldios (Barbs, Wastelands)
Port | 2017 | 25’ | HD | ita premiere
In the end of the 19th century the peasants in Portugal started a courageous struggle for better work conditions. After generations of starving misery, the Carnation Revolution sowed the promise of an Agrarian Reform. Mostly in the Alentejo region, these rural workers occupied the huge proprieties where they were once submitted to the power of their Masters. Perhaps the lost seed of other fruits… It is said in Alentejo, when something is lost, those who are looking should start to walk back to the beginning. We must pray and ask Saint Lucy to clear our vision, so we can see and look better. The protagonists of this film, resistants of this struggle, many of them illiterate, working since childhood, tell their story to the youngsters of today, in their own words.
the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo ReHelena Giron and Samuel M Delgado, Plus Ultra
Span | 2017 | 13’ | 16mm to HD | ita premiere
Plus Ultra is the motto of the Spanish state. This slogan was used to encourage navigators to conquer new lands, forgetting the warning from Greek mythology: Non Terrae Plus Ultra (There is no land beyond here). The Canary Islands — testing ground for the tactics utilized in the colonization of the Americas — becomes the setting for a tale about this land.Prantik Basu, Sakhisona
India | 2017 | 26’ | 35mm to HD
Near Mogulmari in West Bengal (India) lies a mound known locally as Sakhisona. The stories about it are still sung by local musicians. A dig nearby recently uncovered the remains of a monastery as well as some objects dating back to the 6th-century. The film shows the objects unearthed and re-enacts the folklore in fragments.
the general program, curated by Giulia Mazzone, Giuseppe Spina, Riccardo ReAzucena Losana, At your heels
Argentina/Czech Rep | 2017 | 3’ | 16mm to HD | ita premiere
A recurring dream where I keep on following his traces, always at his heels.Giuseppe Spina, Romnì (Wife)
It | 2017 | 19’ | Hi8mm to HD | world premiere
Years ago, a gypsy group of kosovan origin settled at the foot of Volcano Etna. This movie is an objet trouvé, a gypsy dance dedicated to a bride, a young woman who prepare herself to become wife and mother, center of a culture. A show without a show, full of details and life. (in presence of the author)Pablo Polanco and Pietro Bulgarelli, El hilo
Chile | 2017 | 6’ | Super8 to HD | ita premiere
An old seamstress’s recollections are woven into a dreamlike postcard in which the sea carries away a house, God takes in a child, and the burden of life shines through into a blindness in which the most sensitive organs are the hands that meticulously work the loom.Monica Saviron, Answer print
USA | 2016 | 5’ | 16mm to HD | italian premiere
“The fading that devastates color films occurs in the dark. It is accelerated by high temperatures and, to a lesser extent, relative humidity. Dye fading is irreversible. Once the dye images have faded, the information lost cannot be recovered” (Image Permanence Institute).
Answer Print is made with deteriorated 16mm color stock, and it is meant to disappear over time. Neither hue nor sound has been manipulated in its analog reassembling. The soundtrack combines audio generated by silent double perforated celluloid, the optical tracks from sound films, and the tones produced by each of the filmmaker’s cuts when read by the projector. The shots are based on a 26-frame length: the distance in 16mm films with optical tracks between an image and its soundJaione Camborda, A rapa das bestas
Spagna | 2017 | 10’ | Super8 to HD | ita premiere
A traditional, picturesque event that invites us to experience the intensity of a close combat between man and animalFOCUS V (65’) - NOMADICA ODEPORICA PLASTICA
curated by Stefano Miraglia
Travels, explorations, rhymes. Look, touch an object, meet an artist.Pauline Rigal, Montée de cimes
Fr | 2018 | 7′ | HD | col | sound | italian premiere
Diving into the interior of a small forest, up to its clearing at dusk, Montée de cimes (A treetop rising) catches sight of the disappearance of birds and stops at hollows left on tree trunks. Among these forms, like parietal images, the film questions our gaze and our perception of the distance that separates our body from the elements. The fauna and flora are just there, but their presence is fragile and fickle. Could the plane in the distance fall? Could the dewdrop slip off the leaf? Could the bird on the branch see us and fly away?Julio Fermepin, Corriente
Ar | 2017 | 6′ | 16mm to HD | col | sound | italian premiere
A fascinated gaze upon the exuberance of the Argentine province of Corrientes (Current) wanders through the Esteros del Iberá and the coasts of Empedrado. In its passing, it deposits attention on the overflow of life that surrounds everything.Pierre Voland, Galicia – Apuntamentos
Fr-Es | 2018 | 3′ | Super8 to HD | col | sound | world premiere
Discovered Santiago de Compostela and Finisterre with a single roll of film. A small, fragmented, postcard. A collection of impressions, unfolding on a song by San Paio de Antealtares sisters.Elsa Brès, Love Canal
Fr | 2017 | 18′ | HD | col | sound | italian premiere
300 million years ago, the north of France was a wetland. 140 years ago, a canal is dug and never filled with water. One day, vagabonds decide to go down an invisible river and pick on the way débris of a world to start a new one.Mauricio Freyre, A IS CID
Es | 2017 | 9′ | Super8 to HD | col | sound | italian premiere
An utopian project, an architectural prototype of a nomadic city that existed briefly for a few weeks. Built in community in 1971 in Ibiza, a redoubt of the counterculture of the time, passed unnoticed by the repression of the Franco dictatorship. Taking as an object of study two locations related to this history, the film superimposes different time scales to speculate on critical ways of transcribing history in a present of forms without utopias.Tinne Zenner, Nutsigassat
Dk-Gl | 2018 | 20′ | 16mm to HD | col | sound | italian premiere
“Go outside. The lovely mountains two, Sermitsiaq and Kingittorsuaq, look at them.” While the housing blocks carry a past of national diaspora, layers of snow cover a future development in the city of Nuuk, Greenland. The landscape acts as a scenery for collective nostalgia and industrial production, as the film studies glitches in translation of language and culture in a post-colonial modernity.Leandro Varela, La Señal Cósmica
Ar | 2018 | 2′ | Super8 to HD | b&w | silent | world premiere
The demonstration of a series of messages encoded on film format.
(in presence of the authors Elsa Brès and Pauline Rigal)
FOCUS W (70’) - Liquid Crystals
curated by Tommaso Isabella
A scientific time-lapse film on crystallization, a layered landscape study merging film and 3D animation, a desktop documentary about gold mines, virtual clouds and e-waste dumps, a digital meditation that delves into a sea of glitches. Four very different works as leaps between states of matter, approaching the indeterminacy that lies beneath ordinary distinctions such as natural and artificial, material and immaterial, production and disintegration, in an attempt to depict a reality continuously shaped by processes of abstraction and concretization.Jan Cornelis Mol, Kristallen en kleur
Nl | 1930-35 | 9′ | col | 35mm to HD | silent (copy from EYE, restored in 2010)
Jan Cornelis Mol specialized in shooting footage using the time-lapse technique: at intervals of fifteen minutes or more, he filmed budding plants or flowers so that the flowers seemed to bloom within a few seconds. Mol also experimented with sound and color systems and was one of the first to introduce optical sound on the amateur film format 16mm.
Uit het rijk der kristallen is one of the most successful and fascinating scientific films made by Mol. The crystallization processes of various chemicals which are visible only through the microscope are shown using time-lapse acceleration at times. Mol worked several years on this film, producing different versions. The original black and white silent film was given a soundtrack in the 1930s, and he also produced a color version of the film, Kristallen in kleur. It partly made use of the Dufaycolor system. The film was not only screened at educational and scientific presentations, but also circulated in avant-garde circles. Filmliga considered it a good example of the ‘absolute film’ as it contains one of Mol’s trademarks, a fascination for abstraction. The work was screened at the Harlem branch of the Filmliga and also at Amsterdam’s Filmliga. In 1928 at a presentation at Studio 28 in Paris, the film was screened as a ‘triptyque’, with three projectors side by side.
Our nitrate print of Kristallen in kleur had been preserved in 1996, but because colors played an important role, it was decided to try a new digital restoration to come closer to the hues of the nitrate print. That print was scanned with an Oxberry scanner at 2K. After grading, a new internegative and print were made. (Simona Monizza – Il cinema ritrovato)Tinne Zenner, Arrábida
Port-Den | 2017 | 16′ | 16mm/HD to HD | col | sound
A film centred on the production of landscape and concrete in the Arrábida Natural Park, Portugal. Covering a vast area of coast, caves, mountains and forest, the park is inhabited by a massive concrete factory that branches through the landscape. Documenting the various layers of the sourced material, the factory body and the constructed landscape, the film looks at how time is physically embedded in the matter and how the molecular particles act in a circular re-shaping of the whole. The film merges 16mm footage shot in the area of Arrábida with 3D animation of the topographic landscape as an equal analogue layer. Há só uma terra. There is only one earth.Louis Henderson, All That Is Solid
Fr | 2014 | 15′ | HD | col | sound
“All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.”A technographic study of e-recycling and neo-colonial mining filmed in the Agbogbloshie electronic waste ground in Accra and illegal gold mines of Ghana. The video constructs a mise-en-abyme as critique in order to dispel the capitalist myth of the immateriality of new technology – thus revealing the mineral weight with which the Cloud is grounded to its earthly origins.Jacques Perconte, Vingt-neuf minutes en mer
Fr | 2016 | 29′ | HD | col | sound | ita premiere
À force de cette violence omniprésente voilà que l’image saigne. Mais le rouge ne reste pas à la surface de l’eau.
A peaceful image transforms imperceptibly into a blood-red scene. Below the soothing waves of the sea, deep unrest simmers. Digital impressionism. An inner journey in our relationship with violence and memory, through a patient deconstruction of the image, set to the subtle sound of a never-ceasing wind.
“It is a long and deep inner journey in our relationship with violence and memory. Digital moving images are made to maintain information stable. But we can break it. ” J. Perconte
Other possibilities of the sea. Digital impressionism, expressed through a patient deconstruction of the image into moving colours, set to the subtle sound of a never-ceasing wind. The rocking motion, further emphasized by contemplating slowness, evokes a sense of the permanently changing waves.FOCUS X (112’) - Atomic Light Shadow Optics
curated by Rinaldo CensiAll this took about one minute. It was a series from bright to dark, and I had seen it. I am about the only guy who actually looked at the damn thing – the first Trinity test. Everybody else had dark glasses, and the people at six miles couldn’t see it because they were all told to lie on the floor. I’m probably the only guy who saw it with the human eye. (Richard P. Feynman, Los Alamos from Below — Reminiscences of 1943-1945)Robert Aldrich, Kiss Me Deadly
USA |1955 | 106′
Science fiction becomes pop sociology in Invasion of the Body Snatchers. And noir veers into apocalyptic sci-fi in Robert Aldrich’s 1955 masterpiece Kiss Me Deadly, which, briefly described, tracks one of the sleaziest, stupidest, most brutal detectives in American movies through a nocturnal, inexplicably violent labyrinth to a white-hot vision of cosmic annihilation. (Jim Hoberman)Tony Conrad, The Flicker
USA | 1966 | 30’
«I’ve always thought of The Flicker as a kind of bizarre science fiction movie, as a space that you can enter—in the way that you enter the narrative space of a regular Hollywood movie—and go floating off into some weird dimension, and then come back. I constructed the film very carefully so that you’re inexorably moved, very deliberately and very systematically, into an experience completely out of the ordinary, where perception is dramatically altered. If you look around the theater during The Flicker, you find that everything is somehow made strange».
Tony Conrad. “On the Sixties”, in S. MacDonald, A Critical Cinema 5. Interviews with Independent Filmmakers, University of California Press, Berkeley / Los Angeles / London, 2006
FOCUS Y (38’) - La Machine infernale
curated by Alessio Galbiati
Or three fragments on the concept of death and its representation. A selection of moving images, noncinematographic, concluded by a phantasmagoria by Georges Méliès to reflect around the limits of vision and representation.Mark LaGanga’s WTC 9/11 Video (Enhanced Video/Audio & Doubled FPS)
USA | 2001-2018 | 29’ | CBS News
Only 29 minutes passed between the two World Trade Center towers falling. Photojournalist Mark LaGanga captured the eerie scene up closeJon Rafman, A Man Digging
USA | 2013 | 8’
In Jon Rafman’s newest film, A Man Digging, a virtual flaneur undertakes an evocative journey through the uncanny spaces of video game massacres. In a re-visioning of the game Max Payne 3, Rafman radically transforms the role of the player. He now encounters the digital landscapes not as a numb fighter, but as a human who is touched by death and gore, even when it is rendered banal in its ubiquity. Divorced from their original context, the slaughtered bodies take on a dull, inarticulate violence that is disquieting. Through a film that becomes a de-sensationalized spectacle, Rafman confronts both the danger of passively aestheticizing the wreckage of the past, and the romantic fixation on death as a placeholder for meaning.Georges Méliès, Escamotage d’une dame au théâtre Robert – Houdin
Fr | 1896 | 1′
Un prestidigitateur recouvre une belle dame d’une nappe, exécute des passes magiques, enlève la nappe : la dame a disparu, à sa place un squelette. L’artiste repositionne la nappe, fait des passes, ôte à nouveau la nappe : la dame a reparu. Ils saluent de concert.(outer) SPACES itineraries (65’)*
curated by Riccardo Re (inside “Space Itineraries”, section promoted by Menomale)Mauro Santini, VAGHE STELLE
“Vaghe stelle” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations.
The ‘songs’ are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.
ALKAID | Ita | 6′ | Color | 4K to HD | 2017
MIZAR | Ita | 11′ | Color | 4K to HD | 2017 (italian premiere)
ALIOTH | Ita | 5′ | Color | 4K to HD | 2017 (italian premiere)
(in presence of the author)Malena SZLAM, LUNAR ALMANAC
2013 | 16mm | color | silent | 4′ 00
Lunar Almanac traces the observational points of the lunar cycle in a series of visual notations. Using single-frame and long-exposure photography, the unaltered, in-camera editing accumulates over 4000 layered field views of half-moons, new moons, and full moons. These lunar inscriptions flit across the screen with a frenetic energy, illuminating nocturnal reveries that pull at the tides as much as our dreams.Lawrence Jordan, Our lady of the sphere
US | 1969 | col | sound | 10’ 00
The mystical Lady with the orbital head moves through the carnival of life in a Surreal Adventure.Deborah Stratman, These blazeing starrs
2011 | b&w | sound | 14′ 14
Since comets have been recorded, they’ve augured catastrophe, messiahs, upheaval and end times. A short film about these meteoric ice-cored fireballs and their historic ties to divination that combines imagery of 15th-18th century European broadsides with NASA Jet Propulsion Laboratory footage.Cécile Fontaine, Spaced oddities
Fr | 2004 | b&w | sound | 4′ 20
Pictures from a black and white documentary on the life in fresh water, recomposed on the celluloïd ribbon by collage frames by frames to form new figures … repeating itself atregular intervals, like variations of a same motif.
Robert Breer, Inner and outer space
US | 1960 |col | sound / 5' 00Len Lye, Particles in space
US | 1966 | b&w | sound | 4’ 00
“PARTICLES IN SPACE (1979) grew out of the same calligraphic material as FREE RADICALS. As with its companion film, PARTICLES is concerned with the energy of movement – of shaping light in darkness, by scratching on the film surface. In this film, Len Lye focuses on “a smaller, more compact zizz of energy than I’d ever got before on film.” The rhythms of African drums again provide the musical counterpoint. “I thought FREE RADICALS as ‘definitively revised’ an almost unbelievably immense masterpiece (a brief epic) and that PARTICLES IN SPACE was its contemplative equivalent. COLOR CRY as great as I remembered it..” Stan Brakhage
*Except for Mauro Santini’s Vaghe Stelle, all the screenings will be in 16mm and the films will be screened by Mirco Santi (Home Movies)
New Powerful Eyes. A seminar with Flavio Fusi Pecci
(an academic whose expertise ranges from stellar evolution to galaxies and cosmology, vice-president of the SAIt - Società Astronomica Italiana)).
In the field of Astrophysics and Cosmology, one aspect in particular has influenced the evolution of our knowledge of the universe and its components: thanks to this, access to a "multi-frequency" (s.a. observation in gamma band, X, optic, infrared, and radio) and a "multi-messenger" (s.a. cosmic rays, neutrons, astroparticles, gravitational waves) approach was made possible.
(inside “Space Itineraries”, promoted by Ass. Menomale in collaboration with SOFOS)
Stories of vision. Art as school of senses (and sense) with Francesco Cattaneo
(researcher and professor of Aesthetics, Department of Philosophy and Communication Studies, University of Bologna)
What it means “to see”? And what role does the artistic vision play, in our being in the world? The seminary doesn’t aim to general definitions, but rather to develop encounters (and recounts), using specific philosophical, cinematographic, pictorial and literary experiences as catalysts for meditation.
I’ll try, by this way, to bring out how our senses (in the double meaning that refers to sensitivity and significance), far from being reduced to something “natural”, require an uninterrupted exercise, especially in the terms of the “dissolution” referred to by Rimbaud.
NOTA: To take part in the Atelier please enroll by sending an e-mail to: firstname.lastname@example.org
Breakfast with Cinèma Fragile
Francis Magnenot and Katia Viscogliosi, Primavera
It - Fr | 2018 | 43’ | HD
Primavera is composed of short cinematographic haïkaï written with a camera, in the spirit and rythm of the japanese poetry. It’s a cinema of the moment, minimalist, made with starving eyes, in constant search of what we are rich of, here and now. No subject but life: like if cinema should not be written, as it’s a way to write down things that happen.
(in presence of the authors)
Breakfast with MOVIMCAT
Stefano Miraglia presents his curatorial project The Moving Image Catalog
+ collective rambling about the online dissemination of artists’ moving image
Out of programme (OOP)
AudioWebTeleVisionArchive _h16.30 / h24.00
Different programs (without a program) of audio/video materials, web, television
curated by Federico Epifanio, Giuseppe Spina, Tommaso Isabella, Elisa Cuter, Francesco Selvi, Alessio Galbiati
Wunderground – central hall _h24
The venue will host objects and works of any kind that anyone can bring and exhibit.
A recollection of “ofrendas” will be in an home altar in honour of the dead.
Space Itineraries #2 _ in girum… _h24
An “urban – star” map will be donated to participants, to guide them through the discovery of “celestial things” through the streets and buildings of the city.
PLEASE NOTE: *the program is divided into 6 blocks
** to take part in the Atelier please enroll by sending an e-mail to email@example.com
*** The weekend with the dead has come true without any public or private funding, it is the result of the work (and pleasure) of researchers, academics and tens of filmmakers that offer their work without anything in return. Attendance is free and open to everyone, however a voluntary contribution is expected and appreciated
PREVIEW. That the life can shine (screening and meeting)
31 October, h20.30 - Cineteca di Bologna
a film by Fabio Badolato and Jonny Costantino
with Antonio Moresco and Giovanni Battista Ricciardi
based on the homonym novel by Antonio Moresco
First public screening of the film, in presence of the authors
from 1 to 4 November– Spazio Menomale, Bologna
"Weekend with the Dead" • an international selection of very different films
[screening room 1 h4.00 pm / 02.00 am • screening room 2 h10.30 am /02.00 am • central hall h24]
Section 1 [general programme – room 1]
The principle behind this selection is not the showing of coherence between the works, much less the personal taste; it is about the heterogeneity of vision, in order to give back a faithful overview of the current – diversified – trend of contemporary experimentalism. The selection of film-makers that we will present took us to the most disparate countries, and through diametrically opposite dimensions of storytelling, we are looking forward to an unprecedented experience, generated from the clashing of their films and filled with unexpected echoes and vivid collisions. During the days of this exhibition, we ultimately hope to give our contribution to the breakage of the anachronism of meek visions, so that abnormality can become the rule and the viewer’s gaze can free itself from those very chains that prevent it from exploding. (curated by Giulia Mazzone, Riccardo Re, Giuseppe Spina)
With films by :
Albert Alcoz, Prantik Basu, Christopher Becks,
Dan Browne, Pietro Bulgarelli, Jaione Camborda,
Mary Helena Clark, Mierien Coppens, Samuel Delgado,
Nazlı Dinçel, James Edmonds, Luca Ferri, Helena Giron,
Emmanuel Lefrant, Pietro Librizzi, Azucena Losana,
Francis Magnenot,Takashi Makino, Marta Mateus,
Stefano Miraglia, Pablo Polanco, Monica Saviron,
Giuseppe Spina, Katia Viscogliosi, John Woodman
(all the films in this section will be screened twice in different days and times)
Section 2 [multifocus, room 1]
• Focus curated by Rinaldo Censi – Atomic Light (Shadow Optics) - with films by Robert Aldrich and Tony Conrad
• Focus curated by Alessio Galbiati - The infernal Machine - with films by: Mark LaGanga, Jon Rafman and George Melies
• Focus curated by Tommaso Isabella - Liquid Crystals - with films by: Jan Cornelius Mol, Louis Henderson, Tinne Zenner, Jacques Perconte
• Focus curated by Stefano Miraglia - NOMADICA ODEPORICA PLASTICA - with films by: Pauline Rigal, Julio Fermepin, Pierre Voland, Elsa Brès, Mauricio Freyre, Leandro Varela, Tinne Zenner
Section 3 [Space Itineraries#1, room 1]
Space Itineraries #1 curated by Riccardo Re, promoted by Ass. Menomale
With films by: Robert Breer, Cecile Fontaine, Larry Jordan, Len Lye, Fern Silva, Deborah Stratman - screenings on 16mm
+ Vaghe Stelle (Alkaid, Mizar, Alioth), by Mauro Santini
Section 4 [Atelier – room 2]
- 1 november, h10.00 am / h1.00 pm
Seminar “New Powerful Eyes” with Flavio Fusi Pecci, academic and former director of the Astronomical Observatory of Bologna, an expert in stars evolution, galaxies, and cosmology.
(promoted by Ass. Menomale in collaboration with SOFOS)
- 2 November, h10.00am / h 1.00 pm
Seminar "Stories of vision. Art as school of senses (and sense)" with Francesco Cattaneo, researcher and professor of Aesthetics, Department of Philosophy and Communication Studies at the University of Bologna.
What does ‘seeing mean’ what role does the artistic vision play in our being in the world? The seminar’s aim isn’t to advance general definitions, but rather to develop encounters (and recounts) by using specific philosophical, cinematographic, pictorial and literary experiences as catalysts for meditation. With this seminar, I’ll try to bring out how our senses (with its double meaning that refers to sensitivity and significance) require an uninterrupted exercise, especially in terms of “dissolution” (referred to by Rimbaud), and far from being reduced to something “natural”.
- 3 November, h 10.00am / 11.30am
Breakfast with MOVIMCAT: Stefano Miraglia presents his curatorial project The Moving Image Catalog + a gram collective rambling about the online dissemination of artists’ moving image
Section 5 [AudioWebTeleVisionArchive – room 2]
Different programs of audio/video materials, web, television
by Federico Epifanio, Giuseppe Spina, Tommaso Isabella, Elisa Cuter, Francesco Selvi, Alessio Galbiati
Section 6 [Wunderground – central hall]
The venue will host objects and works of any kind that anyone can bring and exhibit. A recollection of "ofrendas" will be in an home altar in honour of the dead.
Space Itineraries #2 (in girum…): Break away from the earth (promoted by Ass. Menomale)
An "urban – star" map will be donated to participants, to guide them through the discovery of "celestial things" through the streets and buildings of the city.
Rifrazioni. Dal cinema all’oltre
La Camera Ardente
The Moving Image Catalog
eye filmmuseum amsterdam
Cineteca di Bologna
#inthelightofdead #nomadica #everyonewiththeirownsaints #wunderground #breakawayfromthearthRead More
Jazz for a massacre – best film al LuccaFF 2015
JAZZ FOR A MASSACRE di Leonardo Carrano e Giuseppe Spina vince il concorso come miglior cortometraggio sperimentale al Lucca Film Festival 2015.
Leonardo Carrano nasce a Roma nel 1958.
Pittore e grafico, nel 1980 vince il premio Lubiam assegnatogli dal maestro Renato Guttuso. Dal 1992 si occupa di cinema d’animazione sperimentale; i suoi lavori, frutto della combinazione di tecniche e linguaggi diversi, tutti sperimentali e a metà strada fra astratto e referenziale, sono presto notati dalla critica e selezionati in importanti festival in Italia e all’estero (Venezia, Roma, Locarno, Annecy, Montreal, Parigi, Zagabria, ecc). Le sue animazioni sono state mandate in onda più volte in alcuni programmi RAI, “Blob cartoon” e Fuori Orario. Nel 1994 realizza per la Fininvest le scenografie virtuali del programma L’ANGELO. Nelle sue realizzazioni Carrano si è avvalso della collaborazione di compositori noti ed apprezzati come Sylvano Bussotti, Giorgio Battistelli, Ennio ed Andrea Morricone.
Le ultime produzioni:
JAZZ FOR A MASSACRE
[the page of the new film – MAY 2014]
an animation film by Leonardo Carrano and Giuseppe Spina
• • • • • • •
Italia, 2013, 00:58:00
di Leonardo Carrano
Produzione 4K s.r.l.
Distribuzione Nomadica e Mimesi’s Culture
Aeterna è un film d’animazione sperimentale, che prende vita dalle sensazioni che ha suscitato nel suo autore, Leonardo Carrano, l’ascolto del Requiem di Mozart. Le parti della celebre Messa vengono interpretate attraverso 14 film che creano un insieme organico e variegato quanto a tecniche d’ animazione e linguaggi espressivi.[Ciascuno dei film è stato realizzato con la collaborazione di un co-regista, che ha arricchito l’opera con la propria sensibilità e il proprio apporto artistico, culturale e tecnico:
“Il mio è stato un abbandono allo stupore progressivo che l’ascolto quotidiano del Requiem, per dodici anni (cinque di ascolto passivo e altri sette durante la realizzazione del film), ha suscitato in me e che via via ha preso forma nella mia opera, attraverso un processo prevalentemente onirico: l’atto creativo e il gesto tecnico-artistico sono scaturiti da ispirazioni multiple che attingono sia alla musica come pretesto, sia al mio vissuto che, inevitabilmente, ha permeato di sé un lavoro così lungo nel tempo.” – Leonardo Carrano
Mikulas Rachlik: Requiem Aeternam; Alessandro Pierattini: Kyrie, Rex Tremendae, Recordare, Domine Jesu, Agnus Dei; Ada Impallara: Dies Irae; Renato Flenghi: Tuba Mirum; Luca Zoppi: Confutatis; Silvio Giorcelli: Lacrimosa, Sanctus; Luca Romani: Hostias; Alberto Antonio Dandolo: Benedictus; Alain Parroni: Lux Aeterna]
«Aeterna di Leonardo Carrano è un’opera straordinaria,unica, eccezionale.
Il Requiem di Mozart è esaltato dalle invenzioni di immagini dove appare un mondo più alto di noi…». (Ennio Morricone)
«Aeterna è un’opera straordinaria, unica, eccezionale. Il Requiem di Mozart è esaltato dalle
invenzioni di immagini dove appare un mondo più alto di noi…» (Ennio Morricone)
«Aeterna è immagine in movimento che si fa memento, che rende visibile l’invisibile pur
mettendo in scena l’impossibilità stessa di raccontare la morte.» (Bruno Di Marino)
«Una pazza giocosa inconsapevolezza non tanto di giocare a fare Dio ma di giocare a essere l’ala
di una farfalla, una porzione minima che un soffio sembrerebbe poter scompaginare. … alcune
delle immagini più forti sono quelle che durano mezzo secondo, e che tu non puoi non sentire
in quel momento, quando si sta disperdendo un lavoro così colossale. Come se lì fossero celate
più che manifestate delle tracce di qualsiasi grande artista.» (Enrico Ghezzi)
«È il film di una vita, è un capolavoro rispetto ad un altro capolavoro.» (Giannalberto Bendazzi)Read More
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