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)
(segui i tab sottostanti)
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
h10.00 / 13.00
Atelier • Stories of vision
h16.30 • BLOCK 4 replic_ 45mn
h17.30 • BLOCK 5 replic_ 39mn
h18.30 • BLOCK 6_ 40min
h19.30 • FOCUS W
h21.30 • BLOCK 1 replic_ 47mn
h22.30 • FOCUS X
h10.30
Breakfast with Cinéma Fragile
h16.30 • BLOCK 3 replic_ 54mn
h17.30 • BLOCK 6 replic_ 40mn
h19.00 • FOCUS Y
h20.00 • BLOCK 2 replic_ 54mn
h22.00 • (outer) SPACES
h23.30 • ?????
h10.30
Breakfast with MOVIMCAT
PREVIEW _ 31 OCTOBER
h20.30 – Cineteca di Bologna
LA LUCINA
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
France | 2016 | 4′ | 35mm to HD | ita premiere
A Film of Symbolically Authentic Non-Euclidean Adventures.
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.
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.
Fr | 2017 | 3’ | HD 4:3 | silent
An exploration of the Rodez Cathedral. A study on colour, repetition and flickering, composed of 292 photographs.
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.
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
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.
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)
Eng | 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
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)
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.
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.
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
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.
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
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.
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
Argentina/Czech Rep | 2017 | 3’ | 16mm to HD | ita premiere
A recurring dream where I keep on following his traces, always at his heels.
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)
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.
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
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
curated by Stefano Miraglia
Travels, explorations, rhymes. Look, touch an object, meet an artist.
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?
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.
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.
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.
Es | 2017 | 9′ | Super8 to HD | col | sound | italian premiere
The history of a utopian project, a prototype of a nomadic city that only existed 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. Its architecture linked to psychedelic ideas, altered states and drop-out, was designed by José Miguel de Prada Poole.
Taking as an object of study two locations related to this history, on one side, the architectural offices where the prototype was devised, and on the other, the natural landscape where it was built, the film merges an archeological and fictional approach. The idea of cine-trance proposed by the anthropologist and filmmaker Jean Rouch is investigated through the process of filmmaking, using the camera as a catalyst for making visible vanishing lines and establishing an alliance between the spiritual and the different bodies. The form of narrative constructed in the film superimposes different time scales to speculate on other critical ways of transcribing history, in a present of forms without utopias.
The sound in the film explores the junction of architecture and altered states, as an activation of alternative forms of relations between the material and the disembodied. Using field recordings, the soundscape use instruments, frequencies, patterns and pulsations that are linked to trance rituals and hypnotic induction.
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.
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.
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)
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.
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.
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.
curated by Rinaldo Censi
USA | 1961 | 82’
“The Most Dangerous Man Alive” starts out as a film noir before morphing into a future-is-now premise. Its protagonist is a gangster convicted of murder who, en route to the gas chamber, escapes from custody; he wanders through barren ground that happens to be a nuclear test site, and is caught in a blast. Instead of dying, he suffers a peculiar injury: the material of his handcuffs disintegrates and becomes part of his bodily tissue, turning him into a “man of steel” endowed with superhuman strength and invulnerability (Richard Brody – The New Yorker)
USA | 1966 | 30’
“The Most Dangerous Man Alive” starts out as a film noir before morphing into a future-is-now premise. Its protagonist is a gangster convicted of murder who, en route to the gas chamber, escapes from custody; he wanders through barren ground that happens to be a nuclear test site, and is caught in a blast. Instead of dying, he suffers a peculiar injury: the material of his handcuffs disintegrates and becomes part of his bodily tissue, turning him into a “man of steel” endowed with superhuman strength and invulnerability.
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.
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
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.
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.
curated by Riccardo Re (inside “Space Itineraries”, section promoted by Menomale)
“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)
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.
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.
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.
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
Robert Breer, Inner and outer space
US | 1960 |col | sound / 5' 00
US | 1969 | col | sound | 10’ 00
The mystical Lady with the orbital head moves through the carnival of life in a Surreal Adventure.
*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
(former Director of Bologna’s Astronomical Observatory, an academic whose expertise ranges from stellar evolution to galaxies and cosmology).
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: info@nomadica.eu
Breakfast with Cinèma FragileFrancis 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
NOTA: * il programma generale è suddiviso in 6 blocchi
** per partecipare agli atelier occorre iscriversi gratuitamente inviando una mail 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)
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)
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: Allan Dwan, 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 con Flavio Fusi Pecci, accademico esperto di evoluzione stellare, galassie e cosmologia. È stato Direttore dell'Osservatorio Astronomico di Bologna
(promosso da Ass. Menomale in collaborazione con SOFOS)
- 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
Libreria Modo Infoshop
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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