Hai presente?
Per l’esuberanza
appannavano i cristalli dell’auto in primavera.
Hai presente?
Allora..
Quando l’autunno apparteneva ad un altro pianeta.
Laura’s face, in a moment of eternal and ephemeral complicity.
Guarda i film e gli eventi della sezione Luca Ferro
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Three blocks of 8mm and single8 home films, shot twenty years apart from each other and digitally unified in one frame, they talk, now individually – now simultaneously (in a split screen) of the evolution of the private, cinematographic eye, of media and amateur techniques. Of the eternal flowing of generations, of the impertinence of memory and the fatal snare of nostalgia. The three creations are enhanced by the text of the letter with which Luca Ferro’s father, in 1935, then a young officer in Ethiopia, made first contact with his mother.
Luca Ferro on Impressioni a distanza and Private Cinema
«I consider this work as an exemplary case of making Private Cinema.
WIth Impressioni a distanza I got back an old creation (1976) and I reworked it using the tools of digital editing, reducing it as compared to the starting duration and enhancing it with the text of the letter with which my father, in 1935, young officer in Ethiopia, made first contact with my mother. I added even a sound track. I applied that which I have always believed in: that Private Cinema embraces those re-makes, those variants that the passing of time suggests, be it right or wrong, allowing the gaze to reposition its own look, to signify differently intuitions and previous feelings. Thirty years ago I was much more radical and abstract; less prone than today to the charms of memory and nostalgia.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The images that accompany Trascorrere con Laura have been mostly shot during Spring 1974: in a 2004 digitally reworked version more were added, superimposed, some taken from previous films, some from films of a few years later. In this final version, Luca Ferro added some frames, revealing the two different looks on Laura’s face. As an in-progress work, modifying and expanding at the varying of life experiences. Volatile, as the feeling towards those we love, when we spend an entire existence by their side. From the awareness of this mutability, there stems the need to imprint those moments, starting from the first waiting experience, of birth and nurturing of their first son. All of this filmed in its natural and unexpected “flowing”.
Luca Ferro, september 1st, 2021:
«Today, September 1st, 2021, twenty past six p.m. that I commence this text, it’s exactly 41 days, 15 hours, five minutes that Laura isn’t here. The images accompanying this creation of mine have been mostly filmed in Spring 1974. Then others, in a 2004 digitally reworked version, have superimposed, some taken from just earlier films, others from those of the following years.
In the farmstead next to the spring, which takes the centre of the scene, then lived Laura, recently-graduated psychologist, whom I had met the previous year. Together, as proved in the frames, we were facing our first experience of expecting, birth and rearing of a first child.
The shots at the wash-drinking trough didn’t come from a specific project, rather from the suggestion to juxtapose our own existences to the natural flowing of the water: a complex, but necessary, in-progress, natural and joyful.
We weren’t even twenty, what to say!
The title “Trascorrere con Laura” (“Going By With Laura”) came exactly from that “passing” experience in its double meaning: that of sharing “the time of days” but also some kind of conforming to the flow of life, letting trustfully go to a higher plan of which we ignored the “outcomes” and that nonetheless instinctively “pushed” us, not without ambivalence, within.
Then, in 2014 indeed, I sensed that the images of that present day already embraced the consequences of the previous past and the previews of a subsequent future which would reveal in the double form of a “miracle”, the birth of a child, and tragedy, the death of a very young and dear friend.
So, with the awareness of the maturity and the certainty that private audiovisual expression should embed those variations of the gaze that the filter of memory and the evolution of emotions both force upon us, without disowning or establishing a ludicrous hierarchy of “creations” in different times, I had prepared to adjust the previous work to my new perception.
Until today, 2021, in the occurrence of making those far images available to everyone for the first time, I add a few frames at the final part which reveal as then already two different expression of Laura’s face could bring forward the “deep truth” of a lived relationship, for five long decades, in the name of a recurring emotional swing, and still marked by a solid, aware, mutual, unlimited “passion”. Often desperately happy or conflictedely “in love”.
Constant in its precariousness.
Always mulishly demanding.
Which can be summed up in a single adjective: intense.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Two cousins, precisely offscreen, with a digital camera pointed on a malfunctioning television screen record – with a commentary – some images taken from old 8mm films of their own family. The outcome is a video-letter, a metalinguistics experiment made on request for their friends Allaman, to be then sent to his far, never-met, Australian relatives. What comes out of it is an accidental, but vivid, critical interpretation about the nature of home movies, about the extraordinary intertwining of memory and present.
Luca Ferro, a thought on Coniglio, Leoni & circostanze varie
«It is not by chance, perhaps, that to classify the form of my work I had to come up with the new term of Private Cinema. When I carry out a video, I always hope that it can be interesting to the most people, however I am fully aware that, in order to appreciate it - as long as it's worthwhile - the viewer must allow me/themselves a squandering of time that not all - provided they want it - can afford to spare, in whatever moment of their existence. Then, realistically, I do not strive for an audience, but if anything for a given number of spectators, whom I most willingly would name “videoreaders” if such a term didn’t take the chance to be misanderstood. Videoreaders meaning what? I’ll try to explain that: Coniglio, Leoni e circostanze varie can be fully deciphered only after a plurality of interpretations. But can I ostensibly demand from whomsoever such an availability? I don’t think so. At best, I can hope for my work to catch the démodé eye (or prémodé) of a viewer/reader, rather than come across the tank-sight of the spectator unidirectionally grinding the 25 frames per second, making use of the thinking break, with just the bethinking of previous signs, given a deviation of the text: that doesn’t hesitate, if need be, to break the flux of images to restart it from a previous point.»
Luca Ferro, observations via e-mail after the telecine made by Home Movies
« (...) the copy is new because part of the images composing the video are the outcome of a properly made telecine and not the result of a digitization process of a VHS tape (made in turn from a bad telecine). Hence, if the idea in the previous version was already all there and well structured in its unraveling in layers and planes able to amaze even the author (or, as I like to better consider myself: its midwife), in this version, new in a few moments even for the images used, it stands out better the material contrast between the 8mm quality of the sequences in full screen and the basic narrative structure (both audio and video) quite dismal, aesthetically-wise but abundant in grandeur and stimulus due to what we glimpse and make out of the sound.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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from 8th to 27th October | online on the Archivio Aperto website - extra content
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Per l’esuberanza
appannavano i cristalli dell’auto in primavera.
Hai presente?
Allora..
Quando l’autunno apparteneva ad un altro pianeta.
Laura's face, in a moment of eternal and ephemeral complicity.
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Three blocks of 8mm and single8 home films, shot twenty years apart from each other and digitally unified in one frame, they talk, now individually – now simultaneously (in a split screen) of the evolution of the private, cinematographic eye, of media and amateur techniques. Of the eternal flowing of generations, of the impertinence of memory and the fatal snare of nostalgia. The three creations are enhanced by the text of the letter with which Luca Ferro’s father, in 1935, then a young officer in Ethiopia, made first contact with his mother.
Luca Ferro on Impressioni a distanza and Private Cinema
«I consider this work as an exemplary case of making Private Cinema.
WIth Impressioni a distanza I got back an old creation (1976) and I reworked it using the tools of digital editing, reducing it as compared to the starting duration and enhancing it with the text of the letter with which my father, in 1935, young officer in Ethiopia, made first contact with my mother. I added even a sound track. I applied that which I have always believed in: that Private Cinema embraces those re-makes, those variants that the passing of time suggests, be it right or wrong, allowing the gaze to reposition its own look, to signify differently intuitions and previous feelings. Thirty years ago I was much more radical and abstract; less prone than today to the charms of memory and nostalgia.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Trascorrere con Laura
di Luca Ferro - Attimi di vita, impressi nel loro naturale e imprevedibile “trascorrere”: Luca Ferro filma la moglie Laura, a partire da quella primavera del 1974.
In Private Cinema. Luca Ferro 08.10 / 27.10.2021
Coniglio, Leoni & circostanze varie
di Luca Ferro - Il passato si confronta con il presente (e viceversa), riflettendosi nelle evoluzioni del supporto cinematografico, nella necessità di trasmettere un personale, quanto comune, vissuto famigliare.
In Private Cinema. Luca Ferro 08.10 / 27.10.2021
Hai presente?
di Luca Ferro - Contenuto extra. Il volto di Laura, in pochi secondi resi eterni.
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Three blocks of 8mm and single8 home films, shot twenty years apart from each other and digitally unified in one frame, they talk, now individually – now simultaneously (in a split screen) of the evolution of the private, cinematographic eye, of media and amateur techniques. Of the eternal flowing of generations, of the impertinence of memory and the fatal snare of nostalgia. The three creations are enhanced by the text of the letter with which Luca Ferro’s father, in 1935, then a young officer in Ethiopia, made first contact with his mother.
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The images that accompany Trascorrere con Laura have been mostly shot during Spring 1974: in a 2004 digitally reworked version more were added, superimposed, some taken from previous films, some from films of a few years later. In this final version, Luca Ferro added some frames, revealing the two different looks on Laura’s face. As an in-progress work, modifying and expanding at the varying of life experiences. Volatile, as the feeling towards those we love, when we spend an entire existence by their side. From the awareness of this mutability, there stems the need to imprint those moments, starting from the first waiting experience, of birth and nurturing of their first son. All of this filmed in its natural and unexpected “flowing”.
Luca Ferro, september 1st, 2021:
«Today, September 1st, 2021, twenty past six p.m. that I commence this text, it’s exactly 41 days, 15 hours, five minutes that Laura isn’t here. The images accompanying this creation of mine have been mostly filmed in Spring 1974. Then others, in a 2004 digitally reworked version, have superimposed, some taken from just earlier films, others from those of the following years.
In the farmstead next to the spring, which takes the centre of the scene, then lived Laura, recently-graduated psychologist, whom I had met the previous year. Together, as proved in the frames, we were facing our first experience of expecting, birth and rearing of a first child.
The shots at the wash-drinking trough didn’t come from a specific project, rather from the suggestion to juxtapose our own existences to the natural flowing of the water: a complex, but necessary, in-progress, natural and joyful.
We weren’t even twenty, what to say!
The title “Trascorrere con Laura” (“Going By With Laura”) came exactly from that “passing” experience in its double meaning: that of sharing “the time of days” but also some kind of conforming to the flow of life, letting trustfully go to a higher plan of which we ignored the “outcomes” and that nonetheless instinctively “pushed” us, not without ambivalence, within.
Then, in 2014 indeed, I sensed that the images of that present day already embraced the consequences of the previous past and the previews of a subsequent future which would reveal in the double form of a “miracle”, the birth of a child, and tragedy, the death of a very young and dear friend.
So, with the awareness of the maturity and the certainty that private audiovisual expression should embed those variations of the gaze that the filter of memory and the evolution of emotions both force upon us, without disowning or establishing a ludicrous hierarchy of “creations” in different times, I had prepared to adjust the previous work to my new perception.
Until today, 2021, in the occurrence of making those far images available to everyone for the first time, I add a few frames at the final part which reveal as then already two different expression of Laura’s face could bring forward the “deep truth” of a lived relationship, for five long decades, in the name of a recurring emotional swing, and still marked by a solid, aware, mutual, unlimited “passion”. Often desperately happy or conflictedely “in love”.
Constant in its precariousness.
Always mulishly demanding.
Which can be summed up in a single adjective: intense.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Two cousins, precisely offscreen, with a digital camera pointed on a malfunctioning television screen record – with a commentary – some images taken from old 8mm films of their own family. The outcome is a video-letter, a metalinguistics experiment made on request for their friends Allaman, to be then sent to his far, never-met, Australian relatives. What comes out of it is an accidental, but vivid, critical interpretation about the nature of home movies, about the extraordinary intertwining of memory and present.
Luca Ferro, a thought on Coniglio, Leoni & circostanze varie
«It is not by chance, perhaps, that to classify the form of my work I had to come up with the new term of Private Cinema. When I carry out a video, I always hope that it can be interesting to the most people, however I am fully aware that, in order to appreciate it - as long as it's worthwhile - the viewer must allow me/themselves a squandering of time that not all - provided they want it - can afford to spare, in whatever moment of their existence. Then, realistically, I do not strive for an audience, but if anything for a given number of spectators, whom I most willingly would name “videoreaders” if such a term didn’t take the chance to be misanderstood. Videoreaders meaning what? I’ll try to explain that: Coniglio, Leoni e circostanze varie can be fully deciphered only after a plurality of interpretations. But can I ostensibly demand from whomsoever such an availability? I don’t think so. At best, I can hope for my work to catch the démodé eye (or prémodé) of a viewer/reader, rather than come across the tank-sight of the spectator unidirectionally grinding the 25 frames per second, making use of the thinking break, with just the bethinking of previous signs, given a deviation of the text: that doesn’t hesitate, if need be, to break the flux of images to restart it from a previous point.»
Luca Ferro, observations via e-mail after the telecine made by Home Movies
« (...) the copy is new because part of the images composing the video are the outcome of a properly made telecine and not the result of a digitization process of a VHS tape (made in turn from a bad telecine). Hence, if the idea in the previous version was already all there and well structured in its unraveling in layers and planes able to amaze even the author (or, as I like to better consider myself: its midwife), in this version, new in a few moments even for the images used, it stands out better the material contrast between the 8mm quality of the sequences in full screen and the basic narrative structure (both audio and video) quite dismal, aesthetically-wise but abundant in grandeur and stimulus due to what we glimpse and make out of the sound.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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from 8th to 27th October | online on the Archivio Aperto website - extra content
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Per l’esuberanza
appannavano i cristalli dell’auto in primavera.
Hai presente?
Allora..
Quando l’autunno apparteneva ad un altro pianeta.
Laura's face, in a moment of eternal and ephemeral complicity.
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Three blocks of 8mm and single8 home films, shot twenty years apart from each other and digitally unified in one frame, they talk, now individually – now simultaneously (in a split screen) of the evolution of the private, cinematographic eye, of media and amateur techniques. Of the eternal flowing of generations, of the impertinence of memory and the fatal snare of nostalgia. The three creations are enhanced by the text of the letter with which Luca Ferro’s father, in 1935, then a young officer in Ethiopia, made first contact with his mother.
Luca Ferro on Impressioni a distanza and Private Cinema
«I consider this work as an exemplary case of making Private Cinema.
WIth Impressioni a distanza I got back an old creation (1976) and I reworked it using the tools of digital editing, reducing it as compared to the starting duration and enhancing it with the text of the letter with which my father, in 1935, young officer in Ethiopia, made first contact with my mother. I added even a sound track. I applied that which I have always believed in: that Private Cinema embraces those re-makes, those variants that the passing of time suggests, be it right or wrong, allowing the gaze to reposition its own look, to signify differently intuitions and previous feelings. Thirty years ago I was much more radical and abstract; less prone than today to the charms of memory and nostalgia.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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