Giuseppe Spina

Obsidian, volcanic glass, obtained bringing the Etna basalt to high temperatures (for the feature-film L’ETNA, in progress)

Giuseppe Spina is a filmmaker. His films have been screened at numerous international festivals, including IFF Rotterdam, EMAF, CROSSROADS, Annecy’s IAFF. Giulia Mazzone and Giuseppe Spina are founders of NOMADICA, an international network of artists and intellectuals focused on moving image arts and experimental film.

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Giuseppe Spina è un filmmaker, si occupa di ricerca, (s)montaggi, sperimentazioni varie. Con Giulia Mazzone creano, nel 2010, Nomadica.eu. Insieme hanno curato numerosi momenti di proiezione e incontri – coinvolgendo giovani autori e maestri, programmatori e artisti – presentati in centinaia di spazi in Italia e all’estero e presso le cineteche di Bologna, Roma, Torino. Hanno tenuto incontri e corsi in contesti non istituzionali, presso l’Università e l’Accademia di Belle Arti di Bologna, e dal 2021 alla Libera Accademia di Belle Arti di Brescia. Sono da sempre focalizzati sullo sviluppo del film come forma d’arte e di ricerca, su pratiche e teorie dedicate alle sperimentazioni. I loro film sono stati selezionati in molti festival internazionali, fra i quali Rotterdam IFF, Annecy Animated FF, Cámara Lúcida, Crossroads, EMAF, MUFF, I Mille Occhi, Invideo.

 

Luminous variations in the city skies
2019, 6′, silent, photographic plates

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 is composed of digital scans and blow-ups of Horn D’Arturo’s plates.

 

Màcula
2018, 19′, 35mm + animation on paper

A figure hardly emerges from an undefined black space. Màcula has vague contours, lives in the darkness as best he can, his nervous system is unhooked, acrobatic toward the dissolution. The movie is a duel between light and dark, between processed 35mm film and animated drawings on a black background. Words and voice by Antonio Rezza, music by Ennio Morricone.


Impressio in-urbe (#1 Bologna)
2017, 17′, Super8 / HD

“Impressio in-urbe” goes through the textures of the urban space: the materiality of architectures, corners and prospectives, the drawings of pavings, the squares, the bricks; it’s a detailed decomposition of the city’s “cloak” from which the broken matter emerges, seemingly immovable but in a continuous connection, in the centuries, inhabited by its moltitude.”Impressio” is the print, the mark which all things and every gesture leave of itself, the “identikit” (and vivisection) of the city’s space and time, which gives back to us its view.

Città-Stato (’92-’94)
2008/2015, different versions, found footage S-VHS

Tra il 1992 e il 1994, mentre in Italia la magistratura cercava di colpire la corruzione politica e imprenditoriale, in Sicilia imperava una situazione di caos allucinato e di morte. La “Città-Stato” era il luogo di sperimentazione politica ed economica, un laboratorio dei metodi di prevaricazione sulla Legge.

Jazz for a Massacre
2014, 15′, 35mm

“Jazz for a massacre” is a tribute to the sperimental artist and cineaste Nato Frascà, inventor of “the doodle method”, a form of free expression to explore the unconscious. Ideally applying this method, the film comes out as a musical-pictorial jam-session where Noise of Trouble’s jazz improvisation combines well with the abstract forms, created by Leonardo Carrano directly onto film and edited by Giuseppe Spina. 20,000 painted, engraved and etched photograms involve the spectator in a chromatic dance.

Zauma
2014, 16′, Super8/VHS/HD

The greek word “zauma” means the angst for the unpredictability of becoming. We often translate it into “wonder”, but this is an improper definition. To assert, like Aristotle did, that every knowledge and every technique come from the wonder is not enough. For Homer, zauma is Polyphemus eating the Odysseus’ comrades, that is to say that it means something more strong and negative than “wonder”. Homeric poems evoke an eerie monstrosity.
As it has provoked the whole knowledge and philosophy, zauma is generally intended to be the anguished terror in front of world’s becoming. (E. Severino)

El tiempo del no tiempo
2013, 44′, DV

Il Messico, paese di sincretismi, come punto di vista sul mondo, in cui il tempo “mancante” è il tempo di un’attesa, l’attesa verso il mutamento – tracciata anche dalla teoria cosmica Maya. Quel tempo per il quale è il cinema stesso, come qualsiasi altro linguaggio o espressione umana, a dover mutare. Nel film il linguaggio verbale diviene simbolo della razionalizzazione confusa e incerta dell’uomo contemporaneo, distaccatosi dal sogno, ed è il movimento delle immagini a sciogliersi in un flusso liberatorio come unica possibilità.

Ouaga – Hommage a l’homme du 4 aout
2009, 14’

Même père même mère
2008, 80′, DV / 16mm

Impulso-Video #1-#n -> un testo sul metodo
(2005-2017)

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