• from Nomadica to Istanbul International Experimental Film Festival 2019

    On: 8 novembre 2019
    In: 2017/2019
    Views: 135
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    15 November 2019
    Istanbul International Experimental Film Festival 2019
    12:00 P.M. | Salt Beyoğlu | Panorama: ITALY | Nomadica

    from Earth to Sky (film program curated by nomadica.eu)

    The more one moves away from Earth, the more one goes backwards, in time and space. Cinema is that movement, which is also a moment outside of memory, that recreates new visions while looking at the past (like a continuous present). Cinema, as if it was always the first time. With a program such as this one, we’d be tempted to cut the opening and closing credits of each film, and transform them into one unified masterpiece, but we’ll leave this possibility to your imagination.


    Andrò a ritroso della nostra corsa (I will go backwards of our path)
    by Mattia Biondi, Ita, Super8 (found footage), 3min, 2019
    “Andrò a ritroso della nostra corsa” is a backwards journey through the seasons and the units of the language. To change the prose of the world, its intact clock. There is always a place more thoroughly, lost images in minimun intervals.


    Ab/OVO
    by Luca Ferri, Ita, Super8, 25min, 2016 (sub eng)
    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.


    Black Songs
    by Tiziano Doria e Samira Guadagnolo, Ita, Super8 -> 16mm, 5min, 2019 (silent / sub eng)
    A poetic recollection of a personal and collective memory, the work dissects, decomposes, fragments, distills and then re-creates anew – in a time that beats in repeated rythm, slow and circular – the dream of an ancestral childhood, of nomadic shepherds and tangled bushes of war and raids, and in this magnified gaze, the film wonders about the meaning and the nature of it’s own observations.
    Canti Neri (Black Songs) comes from the analysis of a private and family archive, of our property, of which we have selected some frames transposing them from S8mm to 16mm.
    The original films have been combined in a new way, focusing on details that had escaped from the eye of the operator, on the periphery of the image, extrapolating details, dissolving the flow of action and reiterating it in a dilated time.


    Merci mais non merci
    by Alessandra Beltrame, Ita, super8, 13’, 2018 (sub eng)
    Nico, reflects on existence, identity and responsibilies


    Rodez
    by Stefano Miraglia, Fr, HD 4:3, 3min, 2017 (silent)
    An exploration of the Rodez Cathedral. A study on colour, repetition and flickering, composed of 292 photographs. “A stunning piece of ecclesial psychedelia!” (Sarah Bliss)


    Vaghe Stelle – MIZAR
    by Mauro Santini, Ita, 4K to HD, 11min, 2017
    “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.


    Luminous variations in the city skies
    by Giuseppe Spina, Ita, HD (from photographic plates), 6min, 2019 (silent)
    Between 1932 and 1957, at the Specola Tower in Bologna, a new optical technology was invented, one that would revolutionize outer space observatory methods. Thirty years of research were necessary for the astronomer Guido Horn D’Arturo to invent the specchio a tasselli – also called multimirror or segmented mirror – an archetype of today’s most advanced telescopes. This silent film, made by Giuseppe Spina, is composed of digital scans and blow-ups of Horn D’Arturo’s plates.


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  • weekend

    On: 13 settembre 2018
    In: Senza categoria
    Views: 0
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    [english version]

    Un lungo weekend in occasione della festa dei morti. Una maratona non-stop fatta di incontri e scontri, proiezioni e ricezioni, suoni e visioni: in prima italiana decine di film internazionali,  distillati della più interessante ricerca contemporanea. E ancora seminari, focus, percorsi nello Spazio – in varie forme e formati, dalla notte al giorno e dal giorno alla notte. Lo Spazio Menomale, scavato verso il centro della terra, si fa galleria e sala-continua in cui sprofondare, sala di ricezione in cui non c’è tempo da trovare, con percorsi e crocevia che diventano – com’è solito nella pratica di Nomadica – l’opera stessa, unica, spiazzata e spiazzante, discontinua e non (sempre) schermata. Caos sotterraneo dove “risiede la forma perenne della vita”.

     

     

    IL PROGRAMMA (dal giorno alla notte)

    Il programma generale è suddiviso in 6 blocchi (ogni blocco viene proiettato due volte, in giornate differenti). A questi si aggiungono 4 focus: V – W – X – Y , 4 sezioni di proiezioni che verrano presentati dai rispettivi curatori. (outer) Spaces è un ulteriore programma al tema dello Spazio, con proiezioni in pellicola 16mm. Le mattine saranno dedicate a l’”Atelier” (composto da 2 seminari) e ai “breakfast with …” momenti di incontro con autori e curatori.
    Cliccando sulle singole parti del programma è possibile leggerne i contenuti e i dettagli. Per ogni dubbio scrivere a: info@nomadica.eu – buona navigazione!

    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_ 39mn

    2 NOVEMBER

    h10.00 / 13.00
    Atelier • Stories of vision

    h16.30 • BLOCK 4 replica_ 45mn

    h17.30 • BLOCK 5 replica_ 39mn

    h18.30 • BLOCK 6_ 40min

    h19.30 • FOCUS W

    h21.30 • BLOCK 1 replica_ 47mn

    h22.30 • FOCUS X

    3 NOVEMBER

    h10.30
    Breakfast with Cinéma Fragile

    h16.30 • BLOCK 3 replica_ 54mn

    h17.30 • BLOCK 6 replica_ 40mn

    h19.00 • FOCUS Y

    h20.00 • BLOCK 2 replica_ 54mn

    h22.00 • (outer) SPACES

    h23.30 • ?????

    4 NOVEMBER

    h10.30
    Breakfast with MOVIMCAT

     

    PREVIEW _ 31 OCTOBER

    h20.30 – Cineteca di Bologna
    LA LUCINA

    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 Re

    Christopher 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 Re

    Dan 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 Re

    Nazli 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 Re

    Mary 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 Re

    Helena 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 Re

    Azucena 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 sound

     

    Jaione 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 animal
    FOCUS 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
    Can | 2016 | 29′ | HD | col | sound | ita premiere
    Saint-Valery-en-Caux, 2016
    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 Censi

    All 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′ | versione originale con sottotitoli in italiano

    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 close

     

    Jon 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' 00

    Len 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" Seminario con Flavio Fusi Pecci, accademico esperto di evoluzione stellare, galassie e cosmologia. È vice presidente della SAIt - Società Astronomica Italiana
    (promosso da Ass. Menomale in collaborazione con SOFOS)
    Nel mondo dell’Astrofisica e della Cosmologia un aspetto ha soprattutto influito sull'evoluzione delle nostre conoscenze dell’universo e dei suoi componenti: attraverso questo aspetto si è potuti accedere non solo ad un approccio “multi-frequenza” (osservazioni in banda gamma, X, ottico, infrarosso e radio),  ma anche “multi-messenger” (raggi cosmici, neutrini, astro-particelle, onde gravitazionali). E il forte collegamento sia osservativo che teorico tra gli scenari cosmologici (Big Bang etc.) e la formazione e l’evoluzione delle galassie, delle popolazioni stellari e di tutti i singoli corpi celesti, dai più massici e maestosi (Buchi Neri etc.) giù giù fino alle minuscole particelle elementari (Bosone di Higgs, etc.).
    (all'interno di “Percorsi nello Spazio”, promosso da Ass. Menomale)

    "Stories of vision. Art as school of senses (and sense)" Seminario con Francesco Cattaneo
    (ricercatore e docente di Estetica presso il Dipartimento di Filosofia e Comunicazione dell'Università di Bologna)
    Che cosa significa vedere? E che ruolo riveste, nel nostro essere al mondo, la visione artistica? Il seminario non mira a definizioni generali, ma piuttosto a sviluppare incontri (e racconti), utilizzando specifiche esperienze filosofiche, cinematografiche, pittoriche, letterarie come catalizzatori per la riflessione. Si tenterà, per questa via, di far emergere come i nostri sensi (nella duplice accezione che rimanda alla sensibilità e al significato), lungi dal ridursi a un qualcosa di “naturale”, richiedano un esercizio continuo, soprattutto nei termini dello “s-regolamento” di cui parla Rimbaud.

    NOTA: Per partecipare ai due incontri dell'Atelier occorre prenotarsi, scrivendo a : info@nomadica.eu

    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.

    NOTA BENE: *il programma generale è diviso in 6blocchi
    ** per prendere parte ai seminari occorre iscriversi a: info@nomadica.eu
    *** Il weekend è realizzato senza alcun finanziamento statale o privato, è il frutto del lavoro (e del piacere) di ricercatori, studiosi e di decine di cineasti che mettono a disposizione le proprie opere senza alcuna richiesta. La partecipazione è gratuita e aperta a tutti, con un’offerta libera (obbligatoria)

    INFORMAZIONI GENERALI

     


     

    ANTEPRIMA. Che brilli la luce (proiezione e incontro)


    30 Ottobre, h20.30 - Cineteca di Bologna

    LA LUCINA
    un film di Fabio Badolato and Jonny Costantino
    con Antonio Moresco e Giovanni Battista Ricciardi
    tratto dall'omonimo romanzo di Antonio Moresco
    (Prima proiezione pubblica del film, in presenza degli autori)

    tutti i dettagli

     

     


     

     

    dall'1 al 4 November– Spazio Menomale, Bologna
    “WEEKEND COI MORTI” • una selezione internazionale di film veramente differenti
    [sala1 h16.00/02.00 • sala2 h10.30/02.00 • sala centrale h24]

     

    Sezione 1 [programma generale - sala 1]
    Il principio di questa selezione non risiede nella coerenza fra le opere, men che meno nel gusto personale, bensì nell'eterogeneità degli sguardi, sì da restituire un quadro fedele dell'attuale tendenza, variegata appunto, della ricerca contemporanea. La scelta dei filmmaker ci ha portato nei paesi più disparati e in dimensioni del racconto diametralmente opposte, pertanto ci aspettiamo che dallo scontro dei loro lavori possa verificarsi un'esperienza inedita, fatta di richiami inattesi e di contrasti accesi. In ultima istanza nei giorni della mostra speriamo di contribuire alla rottura con l'anacronismo delle visioni mansuete, affinché l'anormalità divenga la norma e lo sguardo spettatoriale sia liberato dalle catene che ne impediscono l'esplosione. (a cura di Giulia Mazzone, Riccardo Re, Giuseppe Spina)

    fotogramma da Delphi Falls, di Mary Helena Clark

    Con i film di:
    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

    (tutti i film di questa sezione saranno proiettati due volte in giorni e orari differenti)

     

     

     

     

    Sezione 2 [multifocus, sala 1]
    • Focus a cura di Rinaldo Censi - Atomic Light (Shadow Optics) - con film di: Robert Aldrich, Tony Conrad
    • Focus a cura di Alessio Galbiati - La Machine infernale - con film di: Mark LaGanga, Jon Rafman, Georges Méliès
    • Focus a cura di Tommaso Isabella - Cristalli liquidi - con film di: Jan Cornelis Mol, Louis Henderson, Tinne Zenner, Jacques Perconte
    • Focus a cura di Stefano Miraglia - NOMADICA ODEPORICA PLASTICA - con film di: Pauline Rigal, Julio Fermepin, Pierre Voland, Elsa Brès, Mauricio Freyre, Leandro Varela, Tinne Zenner

    Sezione 3 [Percorsi nello Spazio#1, sala 1]
    selezione di lavori in 16mm a cura di Riccardo Re (promosso da Ass. Menomale)
    Con i film di: Robert Breer, Cecile Fontaine, Larry Jordan, Len Lye, Fern Silva, Deborah Stratman
    + Vaghe Stelle (Alkaid, Mizar, Alioth), di Mauro Santini

     

     

     

     

     

     

     

     

     

     

     

     

     

    Sezione 4 [Atelier – sala 2]
    - 1 novembre, mattina h10.00 / h13.00
    seminario: "NUOVI POTENTI OCCHI" con Flavio Fusi Pecci, accademico esperto di evoluzione stellare, galassie e cosmologia. È vice presidente della SAIt - Società Astronomica Italiana
    (promosso da Ass. Menomale in collaborazione con SOFOS)
    Nel mondo dell’Astrofisica e della Cosmologia un aspetto ha soprattutto influito sull'evoluzione delle nostre conoscenze dell’universo e dei suoi componenti: attraverso questo aspetto si è potuti accedere non solo ad un approccio “multi-frequenza” (osservazioni in banda gamma, X, ottico, infrarosso e radio),  ma anche “multi-messenger” (raggi cosmici, neutrini, astro-particelle, onde gravitazionali). E il forte collegamento sia osservativo che teorico tra gli scenari cosmologici (Big Bang etc.) e la formazione e l’evoluzione delle galassie, delle popolazioni stellari e di tutti i singoli corpi celesti, dai più massici e maestosi (Buchi Neri etc.) giù giù fino alle minuscole particelle elementari (Bosone di Higgs, etc.).

    - 2 novembre, mattina h10.00 / h13.00
    seminario: "Storie della visione. L’arte come scuola dei sensi (e del senso)" con Francesco Cattaneo, ricercatore e docente di Estetica presso il Dipartimento di Filosofia e Comunicazione dell'Università di Bologna
    Che cosa significa vedere? E che ruolo riveste, nel nostro essere al mondo, la visione artistica? Il seminario non mira a definizioni generali, ma piuttosto a sviluppare incontri (e racconti), utilizzando specifiche esperienze filosofiche, cinematografiche, pittoriche, letterarie come catalizzatori per la riflessione. Si tenterà, per questa via, di far emergere come i nostri sensi (nella duplice accezione che rimanda alla sensibilità e al significato), lungi dal ridursi a un qualcosa di “naturale”, richiedano un esercizio continuo, soprattutto nei termini dello “s-regolamento” di cui parla Rimbaud.
    - 3 novembre, mattina h10.00 / h11.30
    Colazione con MOVIMCAT: Stefano Miraglia presenta il progetto curatoriale The Moving Image Catalog + disquisizione aperta sul tema delle disseminazioni online dei film d'artista

    Sezione 5 [AudioWebTeleVisionArchive - sala2]

    Differenti materiali d'archivio audio-video, web, tv, smontati e riassemblati da: Federico Epifanio, Giuseppe Spina, Tommaso Isabella, Elisa Cuter, Francesco Selvi, Alessio Galbiati (in elaborazione)

     

    Sezione 6 [Wunderground - sala centrale]
    Lo spazio ospiterà oggetti e opere di ogni tipo, mentre in un altarino domestico saranno raccolte le “ofrendas” in onore dei defunti.

    Percorsi nello Spazio#2 (in girum...): Sganciarsi dalla terra (promosso da Ass. Menomale)
    Ai partecipanti sarà donata una “mappa astrourbana” che li guiderà alla scoperta delle “cose celesti” tra le vie e i palazzi della città

     

     

     


    Con
    Associazione Menomale
    ilcanedipavlov
    Rifrazioni. Dal cinema all’oltre
    Rapporto Confidenziale
    La Camera Ardente
    The Moving Image Catalog

    grazie a

    eye filmmuseum amsterdam

    Cineteca di Bologna

     

    #allalucedeimorti #nomadica #ognunocoisuoisanti #wunderground #sganciarsidallaterra #verydifferentcinema

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  • workshop VII (b): Leonardo Carrano

    On: 17 maggio 2016
    In: Senza categoria
    Views: 0
     Like

    carrano_wall
    workshop VII B _ Leonardo Carrano
    Come l’ala di una farfalla
    workshop di lavorazione su pellicola 35mm e animazione sperimentale
    • con la collaborazione di Giuseppe Spina •
    durata 3 giorni _ 29.30.31 luglio 2016 _ Villa Aragona-Cutò, Bagheria, Palermo

    all’interno di

    12711057_1567939590191705_6898677250441008674_o

    Lungo le tre giornate di ANIMAPHIX – Festival Internazionale del Film d’Animazione, un laboratorio di teoria e lavorazione su pellicola tenuto da Leonardo Carrano, artista di cinema d’animazione sperimentale che ha creato uno stile unico nel suo genere, in grado di fondere linguaggi e metodologie diverse che passano costantemente dal dato concreto all’astrattismo, unendo la musica alle più innovative tecniche di animazione.

    During the three days of ANIMAPHIX – Animation Film’s International Festival, a workshop of theory and processing on film held by Leonardo Carrano, animated experimental cinema’s artist who’s created a unique style in its kind, able to merge different languages and methodologies that pass costantly from the concrete data to abstractionism, combining the music with the most innovative animation techniques.

    29 Luglio, ore 10.00 / 18.00 (con pausa pranzo)
    Si ripercorreranno le fasi della storia del cinema d’animazione più legate alla sperimentazione, con proiezioni ed approfondimenti.

    30 e 31 Luglio, ore 10.00 / 18.00 (con pausa pranzo)
    Le due giornate saranno dedicate alla scoperta e all’elaborazione pratica delle tecniche di lavorazione e i partecipanti sperimenteranno in prima persona il lavoro su pellicola 35mm. Saranno forniti tavoli luminosi e l’attrezzatura necessaria per la lavorazione.
    Inoltre
    il 30 Luglio, dal programma del festival >
    dalle ore 11.00 alle 12.30 > Master Class di Andrea Martignoni: Animazioni e paesaggi sonori.
    alle ore 21.00 proiezione > Jazz for a Massacre, un film di Leonardo Carrano e Giuseppe Spina, Ita-Pol / 2014 / 15min
    (con la presenza degli autori)
    Selezionato in decine di festival e in competizione ad Annecy 2015, il film ha ricevuto il premio come migliore opera al Lucca Film Festival 2015.
    Qui altre info sul film: http://www.nomadica.eu/jazz/

    •••
    “Il cinema d’animazione sperimentale è un ibrido che sconfina tra cinema, pittura e fotografia, ed è quindi una materia illuminante su tutte queste arti”.
    L.C.
    •••
    “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 a proposito del lavoro di L.C.)


    – INFORMAZIONI UTILI –

    >> il workshop è aperto a tutti e non richiede alcuna competenza specifica
    >> tutti i materiali necessari saranno forniti da Nomadica
    >> i partecipanti al laboratorio saranno accreditati e potranno seguire il Festival ANIMAPHIX

    Per seguire il festival
    http://www.animaphix.com/

    Dove
    Villa Aragona-Cutò, via Consolare Pompea, Bagheria – Palermo  _ Vai a Maps

    Iscrizioni
    Numero max di partecipanti: 20
    Costo: 100 €

    Riserve
    E’ possibile disdire l’iscrizione ed essere rimborsati fino a 5 giorni prima dell’inizio del seminario. Ciò dovrà avvenire per iscritto attraverso e-mail. Saranno trattenute 40 € per le spese di segreteria.

    Per info e iscrizioni
    info@nomadica.eu

    Segui il gruppo su facebook
    https://www.facebook.com/groups/696398657142158/

    Vedi tutti i seminari di Nomadica
    http://www.nomadica.eu/atelier/

    [two_third]

    Biografia di Leonardo Carrano
    Leonardo Carrano nasce a Roma nel 1958. Pittore e incisore, 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, Locarno, Montreal, Annecy, Parigi, Zagabria, etc). Le sue animazioni sono state mandate in onda più volte in alcuni programmi RAI, “Blob cartoon” e Fuori Orario. Nelle sue realizzazioni Carrano si è sempre avvalso della collaborazione di compositori noti ed apprezzati come Sylvano Bussotti, Giorgio Battistelli, Ennio ed Andrea Morricone. Su Leonardo Carrano e Aeterna: http://www.nomadica.eu/leonardo-carrano/

    [/two_third] [one_third_last]jazz_frame_7[/one_third_last]

    [one_third]jazz_frame_26[/one_third] [two_third_last]

    Biografia di Giuseppe Spina
    Cineasta, si occupa di ricerca cinematografica, sperimentazioni varie, suoni, scrittura. Dirige le ricerche e l’organizzazione del circuito internazionale itinerante di cinema e arti cinetiche – “NOMADICA”. http://www.nomadica.eu/giuseppe-spina/

    [/two_third_last]

    jazz_frame_9

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