"On close examination, even our vision appears to be intermittent, which explains why, in film, pans often feel artificial or forced. this stems from the fact that one never pans in his real life. in truth, when we turn our heads we don't actually see a graceful continuum but a series of tiny jump-cuts, little stills joined, perhaps, by infinitesimal dssolves. thus our visual experience in daily life is akin to the intermittance of cinema.Intermittance penetrates to the very core of our being, and film vibrates in a way that is close to this core. It is as basic as lfe and death, existence and nonexistence. My own instinct is that the poles of existence and nonexistence alternate at an extremely fast speed, and that we float in that alternation.A second aspect (...)We certainly know the shallow, sickening feeling of leaving a film that has had no true respect for the intermittance of our beeing. Such a film does not respect what we know life to be, it is not what we experience. It is too solid. It is an act of rudeness.Allowng intermittence into a film activates the viewer's mind. There is an oppurtunity to make connections, to feel alive and stimulated. Making these connections, activating these synapses, brings the viewer into the present moment. "Nathaniel Dorsky, Devotional Cinema
Domenica 27 novembre , alle 19:15 Filmmaker Festival presenta il nostro cortometraggio al Cinema Arcobaleno a Milano
ARCOBALENO FILM CENTER - sala 3
19.15 - PROSPETTIVE
La natura delle cose di Laura Viezzoli (Italia, 2016, HD, 68’)
Alla presenza degli autori.
Parco Lambro
REGIA, SOGGETTO, FOTOGRAFIA, MONTAGGIO
Federico Gariboldi, Francesco Martinazzo, Giulia Savorani, Martina Taccani
Federico Gariboldi, Francesco Martinazzo, Giulia Savorani, Martina Taccani
SUONO
Leonardo Falascone
Leonardo Falascone
Il film è un'insieme di suggestioni sull'idea del parco, in cui il tema del giardino si sviluppa come una variazione insolita del documentario naturalistico. Da quando un pavone ha agitato i suoi occhi ipnotici. Perché un pavone? Possiamo dire che i temi e le questioni si sono amalgamati dall'inizio ad oggi fino a delineare degli elementi costanti: la danza, la riappropriazione del corpo, certe espressioni di vitalità. Come per l'allenamento al vero e al mistero, queste espressioni si manifestano, e si volatilizzano in un'istante.
Un'esplorazione che attraversa il repertorio del Festival di Re Nudo, video amatoriali in Super8 e le attuali trasformazioni possibili all'interno del parco. La voce off è frutto di un lavoro di ricerca e selezione di parti del testo tratti dalla registrazione dei Quattro Quartetti di Thomas Eliot.
Un'esplorazione che attraversa il repertorio del Festival di Re Nudo, video amatoriali in Super8 e le attuali trasformazioni possibili all'interno del parco. La voce off è frutto di un lavoro di ricerca e selezione di parti del testo tratti dalla registrazione dei Quattro Quartetti di Thomas Eliot.
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LOCAL_ART 2015 a cura di Ilaria Bonacossa
LocalArt è un concorso dedicato ai giovani artisti under 40 nati, residenti e/o operanti in provincia di Cuneo promosso dalla Fondazione Cassa di Risparmio di Cuneo
in collaborazione con l’Associazione Art.ur di Cuneo
e con la Fondazione Fotografia di Modena.
TreeCloakBell
in collaborazione con l’Associazione Art.ur di Cuneo
e con la Fondazione Fotografia di Modena.
TreeCloakBell
Artist in residence from May 01 ’till June 30 – 2014
at Bains Connective
It
does not deal with throwing forth (pro-jet) things in the world for a
future memory. What we do with the work of art is to create a physic and
a thought dwelling for a mortal being. The source of the work of art is
the human capacity of thought, which transforms the “unarticulated
passivity” of sensation. The reification of the art woks makes the
thought tangible, inasmuch the works of art are things and they
constitute themselves thanks to hand’s ability in fabricating durable
things, as in example, writing, staging, filming, painting,
photographing. The price payed by working is life itself. “This
deadness, however, though somehow present in all art and indicating, as
it were, the distance between thought’s original home in the heart or
head of man and its eventual destination in the world, varies in the
different arts” (Arendt, Hannah, Human condition, Cap IV, The work, The
permanence of the world and the work of art, The university of Chicago
Press, second edition 1998, p. 169).
The thought, in the dead material of the art works, could be saved from his death condition when it enters in contact with a life willing to revive it. As such, a film, a poetry, a dance or an installation remains death as long as it is not revived by some kind will. Although this will shares the fate of death with the other living being, in the work of art it is not a fate due to consumption, because, for his uselessness, it is the higher expression of durability. That means that work of art shares the fate of death, as a relatively durable dwelling in the world and engendered by thought capacity. But exactly for this fact it has at his base the awkward of the relationship between consumption and durability.
The thought, in the dead material of the art works, could be saved from his death condition when it enters in contact with a life willing to revive it. As such, a film, a poetry, a dance or an installation remains death as long as it is not revived by some kind will. Although this will shares the fate of death with the other living being, in the work of art it is not a fate due to consumption, because, for his uselessness, it is the higher expression of durability. That means that work of art shares the fate of death, as a relatively durable dwelling in the world and engendered by thought capacity. But exactly for this fact it has at his base the awkward of the relationship between consumption and durability.
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Mandatory Mention the name " visual arts, © 2012, Giulia Savorani, Italy
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