• Prospettica. Un atlante

    On: 20 Agosto 2022
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    Prospettica. Un atlante — Manifesto I : “Dell’arte di tendere di luce l’arco”

    Nomadica presenta due programmi all’interno di
    *Prospettica. Un atlante – segni, sguardi, corpi, finzioni – Laboratorio di ricerca sulle Arti*
    Antica Taverna di Villamaina, Irpinia — 23 / 24 / 25 Agosto 2022
    VAI ALLA PAGINA

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  • Prospettica. Un atlante

    On: 20 Agosto 2022
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    Prospettica. Un atlante — Manifesto I : “Dell’arte di tendere di luce l’arco”

    Antica Taverna di Villamaina, Irpinia — 23 / 24 / 25 Agosto 2022
    “Una fantasia suonata con gli strumenti propri della natura, come stami e steli. Una volta di più i fiori percossi dal vento bevono la rugiada e si scrollano di dosso certe preghiere che serpeggiano attraverso i fili d’erba per riunirsi negli angoli ciechi del bosco, rischiando di rimanere inascoltate.” (rr)
    23 Agosto 2022
    OCCIDENTE
    Ana Vaz | Portogallo | 2014 | HD & Super 16mm | 15’

    ATOMIC GARDEN
    Ana Vaz | Brasile | 2018 | 16mm | 8’

    PIEDRA DE SOL (THE SUN QUARTET, PART 1: SUNSTONE)
    Los Ingrávidos | Messico | 2017 | 16mm | 8’

    COYOLXAUHQUI
    Colectivo Los Ingrávidos | Messico | 2017 | 16mm | 9’

    LUX TAAL
    Claudio Caldini | Argentina | 2006-2009 | Super8 | 8’

    25 Agosto 2022
    LE STAGIONI
    Franco Piavoli | Italia | 1961 | 8mm | 28′
     

    OCCIDENTE, Ana Vaz, 2014

    OCCIDENTE
    Ana Vaz | Portogallo | 2014 | HD & Super 16mm | 15’15’’
    Filmed in Lisbon in search of the originals of our colonial history I found copies. Brazilians, the new worlders fluent in glitz, entertain the Portuguese in awe and discomfort, colonial norms applied and reapplied. Chinese porcelain seems to signal the hybrids to come: the Chinese dressed as Europeans, the Brazilian maid dressed as an European 19th century servant. 15th century porcelain became reproducible readymades that set the tables for the new colonies – a trans-Atlantic calling. Ouro novo reads new money. As a poem without full stops, as a breath without breathing, the voyage travels eastwards and westwards marking cycles of expansion in a struggle to find one’s place, one’s sitting around a table.

    Girando a Lisbona in cerca degli originali della nostra storia coloniale ho trovato solo copie. I brasiliani, questi abitanti del nuovo mondo avvezzi allo sfarzo, interagiscono con i portoghesi stupiti e a disagio a un tempo, mettendo in scena le norme coloniali. Le porcellane cinesi anticipano gli ibridi a venire: i cinesi vestiti da europei, la cameriera brasiliana vestita come una serva europea del diciannovesimo secolo. La porcellana del quindicesimo secolo diventa un ready made per riprodurre l’allestimento della tavola nelle nuove colonie – una sorta di chiamata transatlantica. “Ouro novo” si legge denaro nuovo. Come una poesia senza interruzioni, come un respiro senza fiato, il viaggio disegna da est a ovest dei cicli di espansione in una lotta senza quartiere per ritagliarsi il proprio posto, preferibilmente attorno a una tavola.

    Ana Vaz, Atomic Garden, 2018

    ATOMIC GARDEN
    Ana Vaz | Brasile | 2018 | 16mm | 8’
    “We could say that a firework is not different from a tree, or from a big artificial flower that grows, develops, flowers and dies in a few seconds. Withered, finally, it soon disappears in unrecognizable fragments. Well, let’s take this firework and make it last for a month, and we will have a flower with all the characteristics of other flowers. Or so, inverting the order of factors, may we imagine that the seed of a plant can explode like a bomb.” – Bruno Munari

    “Potremmo dire che i fuochi d’artificio non sono così diversi dagli alberi, in fondo è un grande fiore artificiale, si sviluppa, fiorisce ed esplode in pochi secondi. Ormai spento, scompare presto in frammenti irriconoscibili. Bene, se prendiamo questa fantasmagoria e la facciamo durare un mese, avremo un fiore non meno autentico di tutti gli altri fiori. Oppure, invertendo gli attori, possiamo ipotizzare che il seme di una pianta esploda come un petardo.” – Bruno Munari

    PIEDRA DE SOL, Los Ingrávidos, 2017

    PIEDRA DE SOL
    Los Ingrávidos | Messico | 2017 | 16mm | 8’24’’
    Piedra de Sol sculpted in celluloid, face of flames, face devoured, adolescent face pursued, ghost years, circular days, that give to the same patio, to the same wall, the moment burns. Only face chiseled in film transparency.

    Pietra del sole scolpita nella celluloide, volto delle fiamme, volto divorato, volto adolescenziale allarmato, anni fantasma, giorni sempre uguali, danno sullo stesso patio, sulle stesse mura, l’attimo si consuma. Un unico volto scolpito dalla trasparenza della celluloide.

    PIEDRA DE SOL, Los Ingrávidos, 2017

    COYOLXAUHQUI
    Los Ingrávidos | Messico | 2017 | 16mm | 9’46’’
    COYOLXAUHQUI recasts the mythical dismemberment of the Aztec Moon goddess Coyolxauhqui by her brother Huitzilopochtli, the deity of war, the Sun and human sacrifice. The film is a poem of perception, one that unveils how contemporary Mexican femicide is linked to a patriarchal history with roots in deeper cultural constructs.

    COYOLXAUHQUI ricostruisce il mitico smembramento della dea azteca Coyolxauhqui per mano del fratello Huitzilopochtli, dio della guerra, del sole e dei sacrifici umani. Il film è un poema percettivo che mostra come il fenomeno del femminicidio in Messico poggia su una storia patriarcale che affonda le sue radici finanche al mito.

    Claudio Caldini, Lux Taal, 2006/2009

    LUX TAAL
    Claudio Caldini | Argentina | 2006-2009 | Super8 | 8’10’’

    The four seasons in the era of climate change.

    Le quattro stagioni nell’era del cambiamento climatico.

    LE STAGIONI, Franco Piavoli, 1961

    LE STAGIONI
    Franco Piavoli | Italia | 1961 | 8mm | 28′
    Careful and prolonged observation of nature and its different seasons by experimental filmmaker Franco Piavoli, which condenses the passage of time into a single plane. The short film is in part a precursor to Piavoli’s future feature “The Blue Planet”.

    Attenta e prolungata osservazione del cineasta sperimentale Franco Piavoli della natura e delle sue diverse stagioni che condensa in un unico piano il passaggio del tempo. Il cortometraggio è in parte precursore del futuro lungometraggio di Piavoli “Il Pianeta azzurro”.

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  • WOM Selection 6 (Sun. Nov 3 – h19.00)

    On: 26 Settembre 2019
    In: Senza categoria
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    curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    LA BALA DE SANDOVAL
    Jean-Jacques Martinod, Ecuador | 2019 | Super 16mm | Color | Sound | 17’

    Isidro wanders through the rainforest while he and his brother recount the times he found himself face to face with death itself.

    Trailer: https://vimeo.com/311506789

    HOARDERS WITHOUT BORDERS 1.0
    Jodie Mack, UK | 2018 | 16mm | Color | Silent | 5’ 45’’

    Featuring crystallized magic markers and the kidney stone of a horse, the generously-curated mineral collection of Mary Johnson comes to life in a manual labor of love for the process of archival procedure.

    XOCHIPILLI
    Annalisa Donatella Quagliata, Mexico | 2018 | 16mm | b/w | Silent | 1’30’’

    Short film that captures fragments of the statue Xochipilli “The prince of flowers;” aztec god of art, dance and poetry. The statue is covered with flowers, some of them psychoactive plants. The figure seems to be in a trance; looking up to the sky, in communication with the divine.

    PIRAMIDE EROSIONADA
    Colectivo Los Ingrávidos, Mexico | 2019 | HD | Color | Sound | 9’

    Mexican Colectivo Los Ingrávidos’ films break away from the entrenched viewing patterns of the dominant film and TV culture. Piramide erosionada is indeed something else: a wild, single-frame, free jazz film experience, completely removed from traditional cinematic linear storytelling. The poetic synopsis: “The piramid used to be a mountain.”

    RESISTANCE
    Laurence Favre, Switzerland | 2017 | 16mm | Color | Sound | 10’50’’

    Resistance is a series of visual and sound impressions of a melting glacier. Beyond its majestic appearance sporadic elements reveal its fragility. Objects regurgitated through the melt witness the passing presence of mankind, leaving traces and scars. Never ending sounds of collapsing ice blocks under the weight of stones continuously reveal the symptoms of an evident decrease. This landscape that at first seemed motionless appears to be permanently changing. And yet in tension this magnificent and frightening body of ice and stones stands, impressive, resisting.

    RANG MAHAL (PALACE OF COLOURS)
    Prantik Basu, India | 2018 | 2K | Color | Sound | 26’

    Until recent years, the Santhali tribe of India did not have its own written language. Their stories and myths were preserved and passed on verbally through the generations. Each narration has a different form, much like the rocks of a nearby hill that come in various hues. While a woman from the community narrates a tale about the origin of creation and how their first house was built, the village prepares for an annual ritual.

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  • Weekend On the Moon 2019

    On: 17 Settembre 2019
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    Nomadica – Weekend On the Moon 2019 – October 31 / November 3 2019
    Bologna, Menomale, via de’ Pepoli 1/A

     

    Rigorous, polymorphic, intimate, and explosive in the making: with such a drive this cinema investigates humankind and its gaze, work, existence, sense of self and the whole. The films we will be dealing with during this long weekend don’t display opinions or collect judgments, instead, they are gestures, acts: they are unknown and limitless images that generate multiple thoughts in front of the eyes that reach out and look at them, tie and untie them, and desire them (from the Latin de-sidera, “drifting apart from the stars”).
    This Cinema has nothing to do with the traditional ways of producing, it doesn’t attempt to capitalize a thing, and lives in another space of action: an essential authorial and artistic act.
    The Weekend On the Moon (WOM) refers to two celebrations: the moon landing of 1969 and – ten years prior – the starting of the exploration missions of the satellite (the first experiments on the Moon, and the first images that moved away from Earth). It is explorations we deal with, we who travel through the hidden corners of an underground cinema in continuous expansion.
    Tens of films, created in recent years and premiering in Italy, organized in a kaleidoscopic program that follows a continuous movement inside and outside of the screen, from day to night. And then, three mornings dedicated to the dissemination of thought and experience: Three ways of talking Cinema. All while immersed in a lunar Wunderkammer, the Menomale Space, the heart of the city.

    Un fare rigoroso, polimorfo, intimo ed esplosivo: con tale spinta questo cinema indaga l’uomo, il suo sguardo, il lavoro, l’esistenza, la percezione di sé, del tutto. Quelli che trattiamo in questo lungo weekend non sono film che espongono opinioni, potenziali sommatorie di giudizio, ma sono gesti, atti: sono immagini sconosciute, sconfinate, che generano pensieri molteplici di fronte agli occhi che le raggiungono e le guardano, le fanno e le disfano, che le desiderano (dal lat. de-sidera “mancanza di stelle”).
    Un cinema che non ha nulla a che fare con le modalità di produzione comuni, che non cerca di capitalizzare un bel nulla, che vive in un altro spazio d’azione: atto autoriale e artistico essenziale.
    Weekend On the Moon (WOM) fa riferimento a due ricorrenze: l’allunaggio del 1969 e, dieci anni prima, l’avvio delle missioni di esplorazione del satellite (le prime sperimentazioni sulla Luna, le prime immagini che si allontanavano dalla Terra). Di esplorazioni si tratta, per noi che viaggiamo negli angoli nascosti di un cinema sotterraneo in costante espansione.
    Decine di film realizzati negli ultimi anni, in anteprima italiana, strutturati in un programma caleidoscopico, in un movimento continuo dentro e fuori dallo schermo, dal giorno alla notte. E poi tre mattinate dedicate alla diffusione del pensiero e dell’esperienza:
    Tre modi di parlare-il-cinema. Il tutto immerso in una wunderkammer lunare, il Menomale, l’esatto cuore della città.

    Alessio Galbiati intervista Giuseppe Spina, per Rapporto Confidenziale, rivista digitale di cultura cinematografica, 14 ottobre 2019
    THURSDAY OCT 31

    ***

    h 18.00 – 19.00
    Selection 1

    h 19.00 – 20.30
    WOM focus: Sky Hopinka
    h 21.30 – 23.00
    Music sounds better with you
    h 23.00 ->
    Selection 2
    FRIDAY NOV 1

    h 10.30 – 13.00
    Three ways of talking Cinema #1
    breakfast with Found Footage Magazine, Revista Lumière, Walden Magazine

    h 16.30 – 18.00 🎥
    Selection 3
    Selection 4

    h 18.00 – 20.00 🎥
    Field Studies:
    Rose Lowder and Scott Hammen

    h 21.00 – 22.30
    WOM focus: Luca Ferri
    h 22.30 ->
    Dark with excessive bright
    SATURDAY NOV 2

    h 10.30 – 13.00
    Three ways of talking Cinema #2
    breakfast with Luca Ferri

    h 16.30 – 18.00
    Alcatraz revisited
    h 18.00 – 19.30 🎥
    Found Footage Cinema:
    Painting with film and light

    h 19.30 – 21.00 🎥
    WOM focus: Bruno Delgado Ramo
    h 22.00 – 23.00 🎥
    Nervous twitching
    h 20.00 – 24.00 🎥
    Canti Neri
    (new version for 2-4 projectors)

    installation by WarshadFilm,
    artistic duo from UnzaLab
    SUNDAY NOV 3

    h 10.30 – 13.00
    Three ways of talking Cinema #3
    breakfast with Chiara Seghetto – “Marco Melani, the man with the golden eye”

    h 16.30 – 17.30
    Between Trancendence and Immanence
    (Contemporary Turkish Exp. Films)
    h 18.00 – 19.30
    Selection 5
    h 19.30 – 20.30
    Selection 6
    ***

    ***

    Nomadica – Weekend on the Moon 2019
    is created by / with the presence of / with the programs by / and thanks to:

    Francisco Algarìn Navarro, Zeynep Ayaşlıgil, Samantha Angeloni, Mattia Biancucci, Gianna Carbonera, Rinaldo Censi, Bruno Delgado Ramo, Federico Epifanio, Cecilia Ermini, Luca Ferri, Elena Fusconi, Martin Grennberger, Yavuz Gözeller, Tommaso Isabella, Christian Kühne, Fiona Lejosne, Marco Mago Magagnoli, Cristina Martinez, Sofia Mazzaglia, Giulia Mazzone, Stefano Miraglia, Naomi Morello, Alessandro Negri, Riccardo Re, Sofia Russo, Ines Schiller, Chiara Seghetto, Giuseppe Spina, UnzaLab, César Ustarroz.

    “Aspect of an eclipse of the Sun by the Earth, as it would appear as seen from the Moon.” Illustrated by James Nasmyth, 1874.

    With films by:

    Martin Arnold, Dianna Barrie, Prantik Basu, Alessandra Beltrame, Sarah Bliss, Dan Browne, Adrián Canoura, Linda Christanell, Charlotte Clermont, Colectivo Los Ingrávidos, Helena Deda, Bruno Delgado Ramo, Théo Deliyannis, Roger Deutsch, Lena Ditte Nissen, Tiziano Doria, James Edmonds, Zachary Epcar, Alex Faoro, Laurence Favre, Pedro Ferreira, Luca Ferri, Siegfried Fruhauf, Ariana Gerstein, Miriam Gossing, Tim Grabham (aka iloobia), Brittany Gravely, Samira Guadagnuolo, Vincent Guilbert, Sinan Güldal, Scott Hammen, Sky Hopinka, Roger Horn, Lara Kamhi, Chris Kennedy, Josh Lewis, Ken Linehan, Simon Liu, Rose Lowder, Jodie Mack, Jean-Jacques Martinod, Bori Máté, Ross Meckfessel, Luján Montes, Daniel Murphy, Naz Önen, John Price, Annalisa Donatella Quagliata, Lee Ranaldo, Georges Rey, Jay Rosenblatt, Sylvia Schedelbauer, Lee Anne Schmitt, M.M. Serra, Paul Sharits, Lina Sieckmann, Guli Silberstein, Claes Söderquist, Mike Stoltz, Deborah Stratman, Malena Szlam, Richard Tuohy, Esther Urlus, Zeno van den Broek, Josh Weissbach, Steven Woloshen.

    ***

    Three ways of talking Cinema (breakfast with *) includes:
    Found Footage Magazine / Revista Lumière / Walden magazine; Luca Ferri; Chiara Seghetto (with the project dedicated to Marco Melani)

    ***

    In collaboration with:
    Menomale, UnzaLab, Revista Lumière, Magasinet Walden, Found Footage Magazine, Movimcat / The Moving Image Catalog,
    Istanbul International Experimental Film Festival, La Camera Ardente

    Special thanks to:
    Lightcone, Sixpackfilm, The Film-Makers’ Cooperative

    The moon, by Henry Draper (1863)

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