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Patrizia Vicinelli on the walls of Bologna, among lives succeeding each other - relentless - through the streets of her city. 
 

From the 1st to 30th September, Patrizia Vicinelli’s poetry will resonate in the urban spaces of the city, too, thanks to the billposting of CHEAP’s posters. In 19 bulletin boards scattered throughout the streets of Bologna there will be posters with words and images excerpted from the author’s texts in the spirit of an in-transit poetry celebrating the epic and the ethics of the wayfaring dear to the poetess.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]STRADA MAGGIORE GRANDE
Soltanto l'amore soltanto l'amore
da ogni paura ti libererà
Patrizia Vicinelli, Cenerentola (1978)

 

SAN VITALE
un desiderio di felicità
La forza d'ottener la libertà.
Patrizia Vicinelli, Cenerentola (1977-78)

 

VIA D'AZEGLIO
Non c’è arrivo non c’è sosta
non c’è partenza, ma il succedersi senza tregua
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

VIA CA' SELVATICA
La memoria è la trama dell'universo / La memoria è il trauma dell'universo
Patrizia Vicinelli, diario (1969-70)

 

VIA SANT'APOLLONIA
Durante la costa dei millenni
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

NAZARIO SAURO
La coincidenza dell'essere
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

VIA SANT'ISAIA
Hai sparso sorriso e io
sono virgola

Patrizia Vicinelli, La premessa è (1964)

 

BOARD VIA DELL'ABBADIA
Patrizia Vicinelli, Apotheosys of schizoid woman (1969-70)

 

 

Each board is provided with a QR Code. By scanning it, you will have access to the Archivio Aperto online archive selection dedicated to Patrizia Vicinelli.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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“There isn’t arrival there isn’t break there isn’t departure, but the relentless following”
Patrizia Vicinelli, I fondamenti dell’essere 

 

Poet, performer, artist, experimental filmmaker from Bologna: thirty years after her demise, Archivio Aperto celebrates the poetry of Patrizia Vicinelli (1943-1991) with Patrizia Vicinelli - In transito, a composite project curated by Giulia Simi and dedicated to the rediscovery of her figure, with events, screenings, readings and exhibitions.

 

Opening event of the XIV edition of Archivio Aperto, Patrizia Vicinelli - In transito is starting Thursday 2nd September at the Teatro Comunale in Bologna, when her images, her voice and her words will meet live the trumpet of Paolo Fresu, one of the most renowned jazz musicians internationally. An original live sound addition during which there will be, for the first time in colours, the work Apotheosys of schizoid woman, a booklet of visual poetry made between 1969 and 1970 during her exile of the poetess in Morocco, and published in 1979 in black and white on the avantgarde magazine «Tau/ma», founded and directed by Mario Diacono e Claudio Parmiggiani. The booklet resurfaces thanks to an archival research which shed light upon 27 diapositives made with partner Gianni Castagnoli and extends in its multifaceted opulence of signs and materials: the graphic trait, the collage, the excerpt from newspapers, magazines, telegrams, medicine boxes all live with Vicinelli’s thoughts and family pictures.

 

The booklet weaves with never-seen images from the film archive of Home Movies - a Super8 film from the 1970s and an excerpt of the Non sempre ricordano (1987) video performance, both shot by Castagnoli - and Alberto Grifi’s pictures, preserved by association of the same name. It isn’t the first time that Vicinelli’s words and Fresu’s trumpet meet: the two of them made, in 1989, the show Majakovskij il Tredicesimo apostolo, a concert  for voices and trumpet later published in a CD by label Cramp Records - extremely rare as of today.

 

 

Reservation is compulsory and seats are limited. You can buy your ticket on Vivaticket at this link. In person sale will take place on 2nd September only, at the Teatro Comunale of Bologna, starting at 18:00.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
PATRIZIA VICINELLI – POSTER ART
From 31st August to 30th September, Vicinelli’s poetry will resonate even in the city spaces thanks to the collaboration with Cheap, independent of street-art promotion: in 19 notice boards scattered throughout the streets of Bologna, there will be posters with words and images excerpted from the author’s texts in the spirit of an in-transit poetry celebrating the epic and the ethics of the wayfaring dear to the poetess.

[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
PATRIZIA VICINELLI  – MEETINGS
 

The festival will be structured in a series of meetings with those who knew Vicinelli's person and works closely. In the Stabat Mater hall within the Biblioteca dell’Archiginnasio, a lecture by Niva Lorenzini (3th September, 17:30), lecturer of Italian poetry of the XXth Century and amidst the most important scholars of the works by Vicinelli, and a meeting with Daniela Rossi and Jonida Prifti (22nd September, 17.30): the former curates the Di Versi In Versi festival, and followed

 

The series of meetings will end on the 26th September with the round table discussion in Villa Aldini, in collaboration with the “Patto per la lettura” of Bologna within the Inosservanza festival context, as curated by the theatre company Archivio Zeta: they will take part at the meeting, curated by Lorenzo Mari, translator and poet, and Beatrice Seligardi, comparative literature scholar, poet Alberto Masala and poetesses Loredana Magazzeni and Rosaria Lo Russo.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]More info about the events and the booking methods will be available from Wednesday 25th August.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]



 

Patrizia Vicinelli – In transito

 

A Home Movies - Archivio Nazionale del Film di Famiglia project
In teh context of Archivio Aperto 2021 and Bologna Estate 2021, the programme sponsored and managed by Comune di Bologna and by Città metropolitana di Bologna - Destinazione Turistica.

 

With the support of the Bologna Municipality, Regione Emilia Romagna, MiC.
In collaboration with Comunicamente, Kiné, Cheap, Associazione Alberto Grifi, Patto per la Lettura, Inosservanza – Archivio Zeta, Istituto Parri.
With the contribution of Unipol, Coop Fond, Lavoropiù.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Friday 3rd September, 17:30 | Stabat Mater Library
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The time is upon us to switch roles. Transgressive and magmatic: Patrizia Vicinelli’s poetry
 

In the Stabat Mater hall, within the Biblioteca dell’Archiginnasio in Bologna, Niva Lorenzini, lecturer of Italian poetry of the XXth Century and amidst the most important scholars of Vicinelli’s works, will enact a lecture rebuilding and analyzing the oeuvre of the cutting-edge poet.

 

In Patrizia Vicinelli’s pages, a material flows throbbing and bursting beyond the edges of the page, straying to a gesturality and an orality which undergo a rhythm of death and rebirth, in endless transformation.  

–Niva Lorenzini, preface to the volume Patrizia Vicinelli: Non sempre ricordano. Poesia, prosa, performance (curated by Cecilia Bello Minciacchi, Le Lettere, 2009).

 

 

Niva Lorenzini is lecturer of Italian poetry of the XXth Century and amidst the most important scholars of Vicinelli’s works, to whom dedicated several publications. Director from 2004 to 2007 of the DAMS degree course at the University of Bologna, and director from 2008 to 2011 of the Department of Italian Studies, she held lectures and conferences in many universities abroad. She is in the management committees of the Gramsci Institute in Bologna and the Associazione degli Italianisti (ADI). She is part of the editorial staff of many periodicals, including «Il verri». Her work includes La poesia: tecniche di ascolto. Ungaretti, Rosselli, Sereni, Zanzotto, Sanguineti, Porta (Manni, 2003); Dire il silenzio: la poesia di Andrea Zanzotto (Carocci, 2014); La poesia italiana del Novecento (Il Mulino, third edition, 2018).

 



 

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Friday 17th September, 20:00 | Serre dei Giardini Margherita, BO
From 22nd September to 27th October | online on MyMovies
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Amateur “means one who does something for the love of the thing rather than for economic necessity”
 

With Amateur Versus Professional (1959), short and legendary text which influenced generations of filmmakers, Maya Deren offers a manifesto of amateur cinema combining the political and poetical tones with practical advices and exhortations.

Juxtaposing Deren’s words and amateur films’ images – previous, contemporary and subsequent to the text, and coming from the Italian context – this short video curated by Home Movies is an anti-authoritative attempt to visualize Deren’s ideas about the freedom of making cinema without economical restrictions and heavy technical apparatuses, and about the use of the camera as an extension of her own body.

 



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Amateur Versus Professional
Maya Deren
 

«The major obstacle for amateur film-makers is their own sense of inferiority vis-a-vis professional productions. The very classification “amateur” has an apologetic ring. But that very word - from the Latin “amateur” - “lover” means one who does something for the love of the thing rather than for economic reasons or necessity. And this is the meaning from which the amateur film-maker should take his clue. Instead of envying the script and dialogue writers, the trained actors, the elaborate staff and sets, the enormous production budgets of the professional film, the amateur should make use of the one great advantage which all professionals envy him, namely, freedom - both artistic and physical.

 

Artistic freedom means that the amateur film-maker is never forced to sacrifice visual drama and beauty to a stream of words, words, words, words, to the relentless activity and explanations of a plot, or to the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes.

 

Like the amateur still-photographer, the amateur film-maker can devote himself to capturing the poetry and beauty of places and events and, since he is using a motion picture camera, he can explore the vast world of the beauty of movement. (One of the films winning Honorable Mention in the 1958 Creative Film Awards was ROUND AND SQUARE, a poetic, rhythmic treatment of the dancing lights of cars as they streamed down highways, under bridges, etc.) Instead of trying to invent a plot that moves, use the movement or wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired. 

 

Physical freedom includes time freedom - a freedom from budget imposed deadlines. But above all, the amateur film-maker, with his small, light-weight equipment, has an inconspicuousness (for candid shooting) and a physical mobility which is well the envy of most professionals, burdened as they are by their many-ton monsters, cables and crews. Don’t forget that no tripod has yet been built which is as miraculously versatile in movement as the complex system of supports, joints, muscles, and nerves which is the human body, which, with a bit of practice, makes possible the enormous variety of camera angles and visual action. You have all this, and a brain too, in one neat, compact, mobile package. Cameras do not make films; film-makers make films. Improve your films not by adding more equipment and personnel but by using what you have to its fullest capacity. 

 

The most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both. Make sure you do use them».

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

To be granted access to the event, a Covid-19 Green Pass is required.

 

In collaboration with Light Cone and Re:Voir Video.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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AMATEUR IS A LOVER
Back To Maya Deren And To Free Cinema

 

 

Filmmaker, theorist, activist, dancer, anthropologist, in her short, intense existence Maya Deren opened paths and pointed at roads never walked before she did. Considered to be the godmother of American avant-garde cinema, her work was an incredible source of inspiration for several generations of artists and her influence is still very strong. Today more than ever she is recognized as woman filmmaker capable of establishing herself at a very young age in a male world, a forerunner evading definitions, thus troublesome.

 

Deren, a gigantic figure of the Twentieth Century as an European relocated in America between the two World Wars, now as then she is a fixed point of return and an unlimited source of inspiration for the production of images, thought and art. For this XIV edition, Archivio Aperto pays tribute to her cinema with a section dedicated to her, Amateur Is A Lover. Indeed, the title recalls Maya Deren’s ideology about freedom, both artistic and bodily, of a cinema without the compulsions of the industry and made with a lightweight camera, her own body, the senses, the mind.

 

Amateur Is A Lover goes through her complete filmography in the best restored version available, with both live film screenings and online streaming on MyMovies: among the works, an unfinished opus filmed at the Guggenheim Gallery of New York, a “family film” with the cat as a protagonist, a “posthumous” work edited with the footage of the incredible experience in Haiti about dances and voodoo rituals, two documentaries dedicated to Deren’s life and works, a musical operation on three of her soundless films and a reinterpretation of a ravishing text of hers, throughout archive images.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
MAYA DEREN IN 16MM - LIVE AT THE SERRE OF THE GIARDINI MARGHERITA
Thursday 16th September, 20.00 - reserve your ticket

Meshes of the Afternoon - 1943, 14'
At Land - 1944, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
A Study in Choreography for Camera - 1945, 3' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
Ritual in Transfigured Time - 1946, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)

 

 

Friday 17th September, 20.00 - reserve your ticket

Amateur is a Lover. Reading Amateur vs Professional  - 2021, 5' | Archive selection curated by Home Movies. Voice and sounds di Francesca Bomo.
Meditation on Violence - 1948, 12'
The Very Eye of Night - 1958, 15'

 

Saturday 18th September, 20.00 - reserve your ticket

Divine Horsemen. The living God of Haiti - 1947-54, 1977, 50'

(O.V. with Italian subtitles)

 


 




 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite. 

To be granted access to the event, a Covid-19 Green Pass is required.

 

 

In collaboration with Le Serre dei Giardini Margherita/Kilowatt, Light Cone.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday 16th September, 20.00 - 16mm live screening | Serre dei Giardini Margherita, Bo
From 16th September to 27th October | on MyMovies
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Meshes of the Afternoon is my starting point [...] In such a way that it was not so much discovering a new medium as finally arriving at home, in a world whose vocabulary, syntax, grammar were my mother tongue; which I understood and in which I thought.

 
Filmed in silence - the soundtrack composed by Teiji Ito was added in 1959 - Meshes of the Afternoon is an anxious and surreal portrait of the inner facets of an individual: neurotic associations, games of shadows and mirrors explore as never before the ghosts of the women's psyche and identity, including sexuality. A poetic psychodrama whose centripetal narrative is modelled on the movements of the director's alter egos - in a continuous extra corporeal connection between the self and the Other - within a suffocating domestic space. An obsessive pursuit that ends with a liberation, from which emerges the Deren subjective experience of the world and the desire to reclaim feminine power.

 

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

To be granted access to the event, a Covid-19 Green Pass is required.

 

In collaboration with Light Cone e Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday September 16th, 20:00 – 16mm with live added sound | Serre dei Giardini Margherita, BO
From September 16th to October 27th – Original Version | online on MyMovies
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 What I do with my films... I believe they are a woman's film, and I think their specific temporal quality is the quality of a woman's time.

 
At Land is a dreamlike narrative in which a female character - played by the director - suddenly finds herself on a beach to make a journey, a détour in search of her identity, meeting other people and different versions of herself. Deposited on the seashore by the waves, whose motions are governed by contrary laws, Deren gets up to enter the earthly world: alternating between anachronistic spaces, the subconscious of the protagonist is forced to come to terms with the myopic male vision that dominates society and the dominant film system. 

 

 

The film was intentionally thought soundless. We hereby present it live at the Serre of the Giardini Margherita in a version with added sound by musicians Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume) within the project SOUND IN TRANSFIGURED TIME in a free interpretation inspired to Maya Deren's dreamlike and surreal world.

 

 

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

To be granted access to the event, a Covid-19 Green Pass is required.

 

In collaboration with Light Cone e Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 16th September to October 27th – Original Version | online on MyMovies
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More and more I started to think about working with the formalised, stylised movement of dance, about taking the dancer out of the theatre and giving him the world as a stage
 

A Study in Choreography for Camera marks, according to the critics, the birth of "choreocinema": Maya Deren investigates and studies the direct relationship between movement - the absolute protagonist - space and the film camera together with the dancer and choreographer Talley Beatty, in a spaceless and timeless perpetual motion rendered by precise shooting and editing techniques. The Bolex 16mm rotates 360 degrees in "phrasing" - as Deren defines them - becoming Beatty's partner. The collaboration between director and performer is extremely intense: in just three minutes the two have the ability to free the human body from the confines of reality, between inside and outside, exploring new possibilities of perception. 

 

 



The film was intentionally thought soundless. We hereby present it live at the Serre of the Giardini Margherita in a version with added sound by musicians Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume) within the project SOUND IN TRANSFIGURED TIME in a free interpretation inspired to Maya Deren's dreamlike and surreal world.

 

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

To be granted access to the event, a Covid-19 Green Pass is required.

 

In collaboration with Light Cone e Re:Voir Video.



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Thursday 16th September, 20:30 – 16mm with added live sound | Serre dei Giardini Margherita, BO
From 15th September to 27th October – Original Version | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The fluidity experienced in A Study in Choreography for Camera increases in Ritual in Transfigured Time, Maya Deren's fourth film. The illusion of constant motion is no longer given by the dance of the camera but by the silent chasing and floating of Rita Christiani (a dancer too), who moves from a domestic ritual to a party scene, a hypnotic dance followed by a perpetual fall into the marine world. Described as a "trance-film" by Paul Adams Sitney, the film is orchestrated around Christiani's interacting movements with the other characters - including Deren - who are also dancers, in "a cinematic ritual that is achieved not only in spatial terms, but in terms of a Time created by the camera".

 

 

The film was intentionally thought soundless. We hereby present it live at the Serre of the Giardini Margherita in a version with added sound by musicians Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume) within the project SOUND IN TRANSFIGURED TIME in a free interpretation inspired to Maya Deren's dreamlike and surreal world.

 

 

In collaboration with Light Cone e Re:Voir Video.

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite. 

To be granted access to the event, a Covid-19 Green Pass is required.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Friday 17th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Stan Brakhage described it as one of Maya Deren's most personal films: "She is the camera, she's moving, she's breathing in relation to this dancer".

 In Meditation on Violence, Maya Deren's camera is guided by the performative gesture of the Chinese boxer Chao Li Chi, in a performance that alternates the traditional training of the Wu-Tang and Shao-Lin schools. A metaphysical meditation that is realised through form, understood as a whole, between slowdowns, still images and imperceptible reiterations.

 "The maximum of an extreme becomes its opposite. Here the maximum of violence is paralysis", explains Deren: the metaphysical concepts linked to Chinese boxing are elegantly materialised in the gesture itself and in its making, a privileged means of visual expression.

 

 

In collaboration with Light Cone e Re:Voir Video.

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

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Friday 17th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Very Eye of Night was the last film Maya Deren managed to complete, as well as the longest and most expensive of her career: shooting began in 1952, the film was not completed until seven years later. The work is a stylised choreography, a "celestial ballet" made with the students of the Metropolitan Opera Ballet School in New York that depicts cosmic individuals dancing - swimming, flying - in the night. 

 

To render the nocturnal atmosphere, Deren prints the whole film in negative: "If the earth is round and turns what by day is an abyss, by night is heaven; and the life of the day and that of the night are one the negative of the other". With music by Teiji Ito, The Very Eye of the Night is to all intents and purposes a metaphysical visual poem which, also influenced by Haitian culture, embraces a new form of experimentalism from which the primacy of the imagination emerges.

 

 

In collaboration with Light Cone e Re:Voir Video.

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

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From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Witch's Cradle was filmed at the Guggenheim Gallery during the surrealist exhibition "Art of this Century" and it was assembled long after the director's death by the staff of the Anthology Film Archives. 

 

It was made in 1943 in collaboration with Marcel Duchamp, who appears with actress and protagonist Pajorita Matta: esotericism, the occult world and witchcraft are intertwined, like the string that Duchamp handles.The camera is already a choreographer that follows Matta, who may be playing the role of a witch (or a possessed?) wearing a mark on her forehead with an infinitely repeatable inscription, "The end is the beginning is the end...", in the evocation of that mysterious and divinatory atmosphere that will also be present in her future films.

 

The genesis of the film draws certainly inspiration from Deren’s experience, since forever fascinated by the statuses of conscience alteration and interested in the psychic mazes. In Autumn 1939, in fact, she started working for the United States writer William Seabrook, who commissioned her some research about witchcraft. Their collaboration did not last very long and came to an end after a period of stay in the writer’s mansion. As she tells in a letter, Deren was asked to undergo some practices of supposed occultism which upset her quite a lot: among these, that of sitting with legs astride on Seabrook’s “witch’s cradle”, “some sort of medieval chair, very narrow, where the witch apprentices had to stay sit to be able to ride a broomstick”.

 

In collaboration with Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Every evening, before going to bed, around two o'clock, Maya Deren went for a walk with her cats along the Hudson River. The Private Life of a Cat was directed with her husband Sasha Hammid and is an "intimate study" of the childbirth of their cat Glamour Girl in their New York flat on Morton Street.

 

Filmed entirely at cat eye level, the close-ups intentionally exclude any human presence and render an autonomous, free feline world, capable of surviving and generating life without the help of owners. 

 

 

In collaboration with Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Saturday 18th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Divine Horsemen. The Living God of Haiti was released posthumously in 1977. Edited by Teiji Ito and his wife, it encloses - in a delicate artistic operation - 50 minutes of the four hours of material shot by Maya Deren during her stay in Haiti - the Haitian Film Footage - during her stay in Haiti, in particular those of 1947 and 1949.

 

Deren’s Haitian project and ambition have distant origins, rooted primitively in her sensitiveness and predisposition to discovery, in the allure of the universe of Haitian rituals and tradition, shaken since her collaboration with Katherine Dunham. Deren’s first ideas of going on such a Caribbean journey date back to 1941 and they materialized five years later, in 1946, when she meets anthropologists Gregory Bateson and Margaret Mead: in that period they give a strong stimulus to ethnographic research in filmmaking, certain that film is an important tool of anthropological analysis.  

 

In 1947, Deren made her first trip with the aim of making a film that would relate the ritualistic aspect of Western children's games to Haitian rituals. The desire to film 'the logic of voodoo' led her to revise her initial desire into a much larger project which will take the aforementioned name of Haitian Film Footage, including even the pioneeristic idea to found an independent film industry on the island for 16mm productions. She will be back three other times, 21 months overall (the last trip was made at the beginning of 1955) and in 1953 she finishes the detailed anthropological book Divine Horsemen. The Living God of Haiti.

 

During this long period Deren's anthropological experience, nearly inevitably, is total, matching the director’s exploratory attitude accompanied by her deep and almost obsessive desire to fully understand the dictates of that culture - not by chance, she will be the first white woman to be initiated into the voodoo religion and she will be assigned a spirit guide, Erzulie, the deity of love - without ever betraying it.

 

Deren marks a new anthropological filmic modality, entirely authorial, which could only be realised through her, in the name of a physical crossing, of a body which is always located  at the centre: far enough from scientific practice and close in every sense to mythological practice, as though she was a divine horse-woman herself, a (unique) passage and intimate portal between the Haitian and western worlds. She catches mainly the sances, the possession ceremonies, the holidays (the Mardi Gras): she draws from time to time a proper rhythm and energy, made out of slow motions - on the spasms of the possessed bodies - and stretched durations, newly experimenting  about film time and the motoric possibilities of her Bolex camera.

 

The camera, in fact, is mobile and trundles in a circle, completely submerged in the community: this very immersion, almost a worship, is one of the causes - beside the financial one - which never allowed the director to come to an end of her project, in the utmost difficulty carried by the way the footage should have been edited and showed, both ethically and morally, without betraying the spiritual logic of the Haitian community to which she now belonged, in the full awareness of both weight and responsibility of her own artistic doing.

 

 

In collaboration with Light Cone e Re:Voir.

 



The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite. . 

To be granted access to the event, a Covid-19 Green Pass is required.

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From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Invocation: Maya Deren is the first feature film dedicated to Deren's life and work. Made for the BBC in 1988 by British director Jo Ann Kaplan, the biographical documentary traces her filmography through the narration of actress Helen Mirren, original recordings of Deren and interviews with Hella Hammid, Sasha Hammid, Amos and Marcia Vogel, Stan Brakhage, Jonas Mekas and Joseph Campbell. A choral narrative intertwined with sequences from his films: for each of them, Kaplan retraces Maya Deren's intentions, the genesis and deeper meanings of her narrative and directorial choices, between symbolism and cinematic resistance, in an unprecedented mosaic of her entire artistic oeuvre.

 

Jo Ann Kaplan (1945-2016) was born in New York and studied art at the NY Hunter College. She started filmmaking in 1969. She lived and worked in the United Kingdom since 1974 directing film and Tv programmes on many different subjects (mainly female) and with different formats, encompassing animation, dance and experimental films, documentaries and painting.

She taught editing at the National Film and Television School, at the Royal College of Art, at the Goldsmiths College Department of Media and Communication, and in other art colleges in Great Britain.

 

In collaboration with Women Make Movies.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 16th September to 27th October | online on MyMovies
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I am not covetous. I do not attempt to seize most of your days. I am glad if, on those rare occasions when truth can only be stated by poetry, you will remember an image, even just the aura of my films - Maya Deren

 
Martina Kudláček ventures into Maya Deren’s biography through the witness of those people who knew her and worked with her. From Jonas Mekas to Sasha Hammid, Katherine Dunham, Miriam Arsham, Graeme Ferguson, Marcia and Amos Vogel, Rita Christiani, Chao-Li Chi, Judith Malina and Stan Brakhage: under their gaze, an intimate and hypnotic portrait of “a modern myth” is outlined, capable of drawing the most hidden sides of her personality, pivotal to understand the complex metamorphosis connected to the Haitian experience.

 

Martina Kudláček was born in Vienna in 1965. She studied cinema, with a specialisation concerning documentary films, at the Film and Television Academy FAMU in Prague. Accomplished director, she is mainly in the field of research and archiving. In 2004 she received the Film Preservation Award from the New York Anthology Film Archives.

 

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      [16]=>
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Thursday 16th September, 20:00 | Serre dei Giardini Margherita, BO
From 22nd September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
 Three films thought and left soundless by Maya Deren (At Land, 1944; A Study in Choreography for Camera, 1945; Ritual in Transfigured Time, 1946) give musicians Francesca Bono (Ofeliadorme) e Vittoria Burattini (Massimo Volume) the chance to create a dialogue with Deren through synth, drums and voice

 
A project for Archivio Aperto which was born to answer a curatorial question: to which extent abiding by philology and to which instead pushing towards the very experimentation Deren herself inspires through her work?

 

The idea of the choice we have made after talking to Pip Chodorov and Tavia Ito, it’s that one thing does not rule out the other - it is enough to claim the intentions - because even if Deren’s work was to shutter as a mirror in a thousand pieces we wouldn’t ever stop to look at ourselves in its shards. 

 

Francesca Bono’s intentions are clear: “I understood almost immediately what I wanted to do, a few frames were enough, I soon took sound notes and thought that my friend Vittoria Burattini would have been a perfect “partner in crime” to create a dreamlike and surreal sound. We have both confidence and reciprocal respect. I wanted to pay tribute to Deren, an extraordinary artist who inspired some of my favourite directors, and another musician I admire and with whom I shared a certain kind of poetics. I was looking for a sensorial sabbath, an immersion in the obsessive. I wanted a message to be clear: Women who make.”

 

 



Francesca Bono and Vittoria Burattini

 



 

 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

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Submerged , in the green of the Serre dei Giardini Margherita
soon on www.archivioaperto.it
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A tribute to filmed cats before and after Maya.
 

The private life of a cat is the starting point of a kitten selection from the Home Movies archive, as filmed between the 1930s and the 1980s. Is it us humans to think to have tamed the cat or is it not the cat to believe to have completely conquered us? A tribute to Maya Deren's huge feline passion.

 

La selezione sarà presentata come installazione collaterale alle proiezioni in presenza. Sarà diffusa sul sito di Archivio Aperto e attraverso i social networks.

 

The selection will be on display as a side installation to the live screenings. It will be exhibited on the Archivio Aperto website and through social networks.

 

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They (Not) Always Remember. Round Table Discussion About Patrizia Vicinelli’s Poetry
 

In Villa Aldini, in collaboration with Patto per la Lettura di Bologna, within the Inosservanza festival curated by the Archivio Zeta theatre company, there is going to be a round table discussion to talk and think about the presence of Patrizia Vicinell’s work in the contemporary poetical context. The meeting is curated by Lorenzo Mari, poet and translator, and Beatrice Seligardi, comparative literature scholar, and will be attended by poets Loredana Magazzeni, Rosaria Lo Russo and Alberto Masala. 

 

 

Lorenzo Mari lives and works in Bologna. He published some poetry books, among which Querencia (Oèdiopus, 2019) and Tarsia/Coro (Zacinto, 2021). He edited ZURITA. 4 poemi (Valigie Rosse, 2019; transl. Alberto Masala) by Chilean poet Raúl Zurita and translated Trilice by Peruvian poet César Vallejo (Argo, 2021).

 

Beatrice Seligardi is a comparative literature scholar and most of her interest lies in the relationship between literature and visual culture. She is the author of essays and articles, such as Lightfossil. Sentimento del tempo in fotografia e letteratura (Postmedia Books, 2020). She collaborated with the Cineteca di Bologna as an instructional tutor. Currently she is a university tutor at the University of Parma. 

 

Rosaria Lo Russo, poet, performer, translator and essayist, was born in Florence, where she lives, in 1964. She teaches, reads, writes and criticizes her own and others’ poems - in this case, she rewrites them by performing: poetry is her art and her craft, her spiritual and material experience. 

 

Loredana Magazzeni lives in Bologna and works in the gender studies, poetry and translation field. She published collections of poems and curated several sylloges about female poetry. She is part of the editorial staff of «Le Voci della Luna» and «Poesia condivisa in Poesia 2.0» literary magazines. She took part in poetry festivals in Rome, Trieste, Modena, Bologna. She is part of the group ‘98 di Poesia and collaborates with Libreria delle Donne and Biblioteca Italiana delle Donne in Bologna.

Alberto Masala, sardinian, lives in Bologna. He is a multilingual poet and writer. He was published in Italy, United States, France. He is in anthologies in Italy, France, Spain, Germany, Hungary, Russia, Albania, Bosnia, USA, Iraq. He is a translator (Kerouac, Ferlinghetti, Pey, Malina, Mereu, Hawad, Zurita). Over his career, beside directing artistic projects in Europe (Berlin, Amsterdam, Thessaloniki, Bologna, Sardinia), he took part in theatre, cinema, radio projects. He wrote musical works and collaborates with musicians from many parts of the world with whom he performs in live concerts.

 



 

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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The 8mm film diary of a couple, shot between 1936 and 1966. 

Budapest is a ghost-like city, where phantasmal shadows shift in a snowy view, in the clutch of cold and wind. Jenö is a bank clerk living in the elegant districts of the city, with his wife Dusi and their purebred dog. Since 1936 Jenö keeps a film diary in which he records, preferably, the moments spent with his wife and the in-laws, but also visions of his city and its worldly life: the entrance of a hotel, the crowd in front of a theatre, the elegant vehicles in the streets. 

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The result is a heart rending elegy, the unsettling death dance of a society close to disaster and a country upon which the Nazi occupation nightmare looms.

The great main character of the film is Dusi the dog, catalyst of the eye of the camera and emotional reference point of the young couple, childless. The small tragedy of his death and the following burial ceremony is the dramatic peak of the events and the unveiling of a dull pain, working under the surface of the image. At the end of the war, Jenö keeps on, imperturbable, to film his daily routine and the new reality of a city in ruins. 

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Everything we see could also be otherwise.

Everything we can describe at all could also be otherwise.

Pèter Forgács
 

The work consists of seven short video essays that take up a few paragraphs from Ludwig Wittgenstein's Tractatus Logico Philosophicus, first published in 1921, with other texts by the Austrian philosopher. Short sequences, fragments of amateur films depicting a single moment, a banal, everyday gesture, constitute the material that Forgács moulds to engage Wittgenstein's theories on logic, language, reality and representation. A philosophical film and a key to Forgács' archival cinema.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October| online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The 1930s and Civil War Spain as seen in the eye of two amateur filmmakers. The first one, Joan Salvans, is the son of a wealthy Catalan industrialist, and he is a talented filmmaker, who is found dead with his father on July 14th, 1936, at the hand of an anarchist militant, six days after the break of the civil war. The second one is another young filmmaker, Ernesto Diaz Noriega, student of the Madrilen middle class close to republican ideas, arrested and put in jail . Ernesto manages to film his jail time, his release and the following way back to Madrid. 

 

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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Lisl Goldarbeiter’s story, the most beautiful girl in the world. Raised in Vienna in a poor family environment, she started winning contests very young, and in 1929 was unanimously chosen as Miss Universe, the first and last Austrian one. Suddenly worldwide famous, she travels and gets several  job offers, even from Hollywood, but in the end she prefers to stay in her own country, marrying a rich Viennese. 

 

Her cousin, Marci, since forever madly in love with her, is a passionate amateur filmmaker who films her and her family. With the Austrian annexation to Germany (1938) and the war, the situation gets dramatically out of hand. Persevering through time is romantic love. Thanks to Marci Tecnzer’s amateur images and Forgács’s masterful work, a very beautiful story can be finally told. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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 Lisl Goldarbeiter. A Queen in Wien"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The destiny of hundreds of thousands Hungarian men and women migrated to the United States between 1890 and 1921.

In order to tell their stories, Forgács weaved a great epic by using film archive material, both public and private, among which images of the origins of American cinema, re-working them with pictures and oral witnesses. This poetical document recalls the difficult moments of the arrival, integration and inclusion, which lay the groundwork for future to subsequent generations and their American dream, real and delusional at once. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
        ["post_title"]=>
        string(32) "Hunky Blues - The American Dream"
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        string(161) "The in-chorus tale of Hungarian migration to the United States amidst hopes, delusions and opportunities, through archive images and oral witnesses. 





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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]A four-generation saga in a Hungarian painters dynasty, starting from the half of the XIX Century. At the centre of the family epic, there is the painter and filmmaker Mária Gánoczy, a more-than-ninety-year-old brilliant artist who raised nine children. 

 

Picturesque Epochs is a journey through time, spanning two hundred years of Hungarian art and history as seen by the eye of those who paint. Forgács adds to the images art historian Géza Perneczky’s commentary. This monumental and intimate story blends painting and cinema, and so does with private and public life in the tragic story of Hungary. It is part of the series ‘Private Hungary’. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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        string(71) "Picturesque Epochs - The life of Mária Gánóczy painter and filmmaker"
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        string(129) "A journey in time through two hundred years of  Hungarian art and history, as seen in by four generations of painters. 




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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Through György Petö’s 8mm home movies, made starting 1938, Free Fall retraces the times before the Shoah, rebuilding the illusions of a Jewish Hungarian family, worn away step by step by the dark advancing of History. 

György Petö, middle-class and excellent mingling Jew, takes control of the family bank when his father dies in 1936. Passionate about music and boats, Petö buys an 8mm camera at the end of the ‘30s, and quickly become a prolific home movies producer, on which he fixes his love for his girlfriend Eva Lengyel, boat trips, holidays, anniversaries, friendships (among his friends, the great maestro Ferenc Fricsay), his marriage in 1941.

Meanwhile, slowly but relentlessly, anti-Semitic laws are passing: “The social life, the ceremonies, love, fun, they are all articulated by a psalm-singing voice, ‘singing’ the laws ever more restrictive towards the Isreal people, giving us faces, gazes and bodies stubbornly unaware of the swirl swallowing them, of a looming tragedy to which the solemn lines of poet Janos Pilinsky come as a seal” (Paolo Vecchi).

Despite the alliance between Hungary and Nazi Germany, the Jew community in Hungaru stays more or less untouched until the Spring of 1944, the year when Petö’s film memoires stop. Forgács puts in act an incessant coming-and-going from the political events and those private, submerging both in the melancholy and grave Tibor Szemzö’s musical flow - the clear and shrill sound.

Free Fall is part of the Private Hungary series.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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        string(137) "Through a Jew-Hungarian family descendant's films we watch, among hope and disenchantment, the advancing of History and its downfall.

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From 1st  to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Peeremboom are a numerous family of Dutch Jews; The Maelestrom – A Family Chronicle re-uses and edits images mostly taken from their home movies collection, documents on the events of their family life from 1933 to 1942: the very years when Nazism was born and grew wide in Europe. In 1940, The Netherlands are invaded by Hitler’s army; of all the member of their family just one will survive the deportation in the concentration camps. Simultaneously to the Peerembooms’ story - who film until the day they are forced to abandon the house by the Germans - the editing alternated Seyss-Inquart’s film memories, the Nazi commissioner for the occupied Dutch terrotories. 

The opposite destiny of two families - one doomed to extermination, the other to the guilt of the executioners - bestows a different quality to the two series of images, extraordinarily similar in showing frames of relaxed daily life. The archive material, in Forgács’s work, sometimes becomes exquisitely cinematographic: the use of freeze-frame stops the image in the moment of its perfection, catching the moment the frame peaks its “rightness” in composition. Some time, the presence of a gag raises the amateur film to a proper film; but the awareness of being on front of one of the most extraordinary historical documents about the Jew holocaust pushes the glance of the audience to an ethical distance, and toward the never stopping thought about what is exposed on film.

In Forgács’s masterful work the private dimension of the story of the Shoah is disruptive and never seen, and stands out as it had never happened before in cinema, both documentery and fiction. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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        string(113) "The filmed chronicle of a Dutch Jewish family that unwittingly falls into the swirl of Nazi destruction. 



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      [27]=>
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]It’s 1938 and Hitler expands his influence on Austria and Czechoslovakia: the Czechoslovakian puppet government wuickly turns anti-Semitic and Aron Grünhut, president of the Jew Orthodox community in Bratislava, arranges for the escape of about 900 Jews on two ships: one of this is the Queen Elizabeth. The entire trip, with its cargo of displaced people from Bratislava to the Black Sea along the Danube, is recorded by captain Nándor Andrásovits who keeps his “ship log” with an amateur camera. 

On another ship, the Noemi Julia, the travellers will get to their final destination: Palestine. Meanwhile, Hitler signs the treaty  for the alliance with Stalin; the agreement between the two countries establishes the transfer of a part of Romania (the Bessarabia) to the Soviet Union. The German people living there must be repatriated to Germany, and the Nazi headquarters rents the Queen Elizabeth to bring back in the homeland the German citizens. On the deck of that vey ship, two people’s destinies cross: the drama of people forced to live their land to make room for History's reasons. 

The archive images recovered and edited by Forgács outline a journey halfway from the biblical exodus and the lightheartedness of an unexpected adventure. The faces, in front of Andrásovitz’s camera, open up with a smile, curious. The films fix the moments of carefreeness: a wedding, dances on the deck, someone sunbathing, the beauty of girls. It’s the landscape images, instead, that outline a universe made of water and sky, space of the mythological tale in which to renew the walk toward the promised land. And it is Tibor Szemzö to dig into the images and to resurface the feeling of nostalgia and the pain for a lost homeland. In  The Danube Exodus, the exodus becomes the key concept to understand the story of World War II and to read the identity of the Jewish people.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
        ["post_title"]=>
        string(17) "The Danube Exodus"
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        string(466) "War stories: the exodus, as filmed by a ship captain, of a group of Jews from central Europe along the Danube river toward the Black Sea, and the opposite journey made by German farmers repatriated in Germany from the Soviet Union.


Storie di guerra: l’esodo, filmato dal capitano di una nave, di un gruppo ebrei del centro Europa lungo il Danubio verso il Mar Nero e il percorso opposto di contadini tedeschi rimpatriati in Germania dall’Unione Sovietica.
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      [28]=>
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Greece, 1940: the Italian army enters Athens, and six months later the German one does. The foreign occupation will cause a clandestine movement of Greek resistance, triggering a bloody civil war. The tragedy of World War II and the effects of the Nazi occupation on Greek territory would have gone without any image if mr. Angelos Papanasstassiou, broker, first, then entrepreneur and finally city councilman in Athens hadn’t had a passion for amateur filmmaking. 

Passion which coincided with bravery, in a time when the simplest act of taking a picture was punishable by death. Endangering his own life Angelos films the Nazi barbarities, the horror of mass graves, the partisans hanged on the street, mass executions, the people’s hunger, the tortured bodies of those who survived and those whi died. Simultaneously, with his little camera, he records his family life: the birth of the daughter, the smile of his wife, the parties with friends. At the end of the war Angelos hands in to the authorities his “war films”, which will later be used as proof of the committed crimes during the Nuremberg trials.

Forgács, after a minute research, edits together the shots stolen to the war with those filmed within the family, matching the great history with the private one: with a tremendous shrill, we watch the Nazi officers as they lay down 3622 in front of the Parthenon’s pillars, and the filming of Papanasstassiou’s daughter’s firts steps. In Forgács’s film the eye watching is a two-faced organ, continuously toppling its status and its perspective: the home movies have the happiness as an object, the historical document states the fear of the social body. In this way  life and death, joy and terror stand still, in front of each other, they encircle sieging; the images make the heart beat, both that of the individual and of history.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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        string(151) "The Greek resistance to the Nazi occupation in the images of a patriot from Athens, covertly filming the German-inflicted horrors on the population. 
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      [29]=>
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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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        string(169) "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.
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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]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]A family research encircling Monferrato and Canavese in the decades over the end of the XIX and the beginning of the XX Century revolving around Erminio Ferro, founder of the facility of the same name in Cuorgné. The stories of the ancestors, in their infinite uniqueness, almost always end up looking similar: recovering them, or perhaps, more ostensibly, getting a reconstruction mostly imaginary can shed light posterity, both present and future, about the meaning of their lives but above all it can provide a credible reason for our being. The style trait, necessarily and knowingly non-professional, is framed in the logic and the thought of Luca Ferro’s Private Cinema.

 
Luca Ferro, observations about Inchiesta di famiglia
 

«It’s not the high professional quality of image and sound I’m interested in, as a matter of fact I’d rather, and it is a preference partly forced by my limits and still real, imperfection and that which I like to address as the nno-professional (a different thing as compared to Brakhage’s amateur-ness). 

 

It is not just a trick to make a virtue out of necessity. In time I realized that it’s an added value, I mean it can be also considered as added value. In particular, when the waiver to the smoothness and to the pivotal layers defining professionalism both lead to highlight the immediacy of the video- and filmmaking practice, literally making the usual filters that (by standing in the middle) conceal the reality of the relation between that who films and that  being filmed (in the double meaning of filmed person and footage), returning to the work, especially in such circumstances when personal involvement is at its peak, a representation which is also “self-ethnographical” and then, to some extent, a true “authenticity”, limited to when we can use such an adjective as compared to the alteration inherent to the audiovisual practice.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 9th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Showed for the first time at the Galleria Milano for the inauguration of the ‘Falce e martello’ exhibition in 1973, this 16mm film was made by Enzo Mari with the working group of the students of the Centro Sperimentale di Cinematografia in Spring 1971. The film collects the exclusive witness of the union spokepersons, the employees and the workmen in the Minganti, Sasib, Comi Rhodiatoce, Châtillon and in the  Porto Marghera Petrolchimico.

 

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11th October, 21.00  | Auditorium DAMSLab - Piazzetta P. P. Pasolini 5b, Bologna 
Meeting and screening with Péter Forgács
 

[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Considered to be a master of found footage film and a pioneer in the archiving and re-working of amateur films, Péter Forgács is going to be in Bologna on October 11th to introduce the first Italian preview of the last two films in the Private Hungary series: Kemény György and Venom – A Diva in Exile.

 

Kemény György | 68', 2017, Hungary

The passionate portrait of Hungarian pop artist György Kemény, very much known in his country for posters, album covers, graphics and the “social” advertisement. Kemény is also a sculptor and author of modern installations, and performances. As with other protagonists in his films, Forgács draws a voyage through the XX Century and its “hidden stories”, with the life of the eighty-year-old Kemény, in this case told personally by him. The narrative has its counterpoint in the private films and in the abundant iconographic material, contextualised à la Forgács.

Chapter XIX of the “Private Hungary” series, the huge work-in-progress that Forgács started in 1988. 

 

Venom – A Diva in Exile | 29’, 2018, Hungary

Venom – A Diva in Exile (2018) is based on the tale of the same name by writer Zsófia Bán, about the troubled story of singer and Hungarian film star Katalin Karády. Diva in the Horthy era, she was accused of espionage during the war, imprisoned, tortured and banished from the radio and the theatres of her own country. After being released, she strived for saving numerous Jewish families, while the disappearance of the man she was connected to, arrested by the Nazis, first, and then by the Soviets, brought her to despair. Heartbroken, castaway and banished by the new Communsit regime, she went into exile in 1951, spending 15 years in San Paolo, Brazil, never playing in films or on stage anymore. She then lived in New York until her death (1990).

 

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From 16th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Ferrania is a place, a factory, a brand known all over the world which, for decades, made the history of the still and moving image in Italy. but Ferrania, today, is a wasteland where numerous former workers of the facility live, in search of a new direction.

 

The story of Ferrania, the film factory installed in a small town of the hinterland in Liguria, turned 100 years old. It is, at once, the story of a huge facility, a society, a brand and a territory: an entire valley involved in the chemistry of photosensitivity generations of men and women who, in the dark, crafted film rolls, film reels, X-rays, printing plates. A technologically advanced factory, enclosed within liberty buildings, surrounded by workers’ towns, crossed by the Bormida river and touched by the railway, immersed in the Adelasia woods.

 

From the installation in the Ferrania hamlet of an explosives factory in 1915, through Fascism, the long period marked by Eng. Luigi Schiatti directorship, the takeover by the American 3M, the union struggles, the speculations and the mistakes, in the end we get to the dereliction state, almost lunar, where the main characters of the film move around and where, despite it all, there are still business activities trying to start again.

 

A Kiné production. In association with Gargàgnanfilm.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 17th to 27th October | online on MyMovies 
Available in Italy only
Live screening + meeting with the director Sunday 17th October | Worldwide Preview
ore 18h30, chiostro dell'ex chiesa di san mattia, via sant'isaia 20
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Miraggi di pianura is a road movie shot along the Via Emilia.

The main characters of the film are the monuments standing out against the roundabouts placed on the main roads in the Po Valley, some all-round mirages appearing in front of the tired eyes of the car drivers who find themselves going through an endlessly industrialized landscape. These works are some kind of outlying, naive and surprising drive-in of the arts where cars are moving, moreover, hence their looking time is short, at times very short.

 Depending on the exit turn we have to take, they can even embody a dreamlike trait, and we ask ourselves, incredulous: did I just see what I saw? 

 

In collaboration with Accademia di Belle Arti of Bologna and Home Movies – Archivio Nazionale del Film di Famiglia.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 17th to 27th October | online on MyMovies 
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[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Mario Lorenzini was a workman, a hiker, a hunter and a member of the Walser community of Piedmont in Valsesia. In the 1970s he buys a super8 camera and starts filming the world around him. Through his lens we see the seasons go by in Priami, his little village on the border between Switzerland and Italy.

 

While with his camera, Lorenzini explores his community, in the film a second standpoint comes out which gives out the interpretation of his world, his life and his idea of cinema. His relation with manliness, and the lack of relation with the feminine world, is often underlined generating a conflict between the expectation of his community and the reality of being unable to grant them.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 17th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]A long, love phone call between the director and her boyfriend reveals the issues of their relationship, long pauses between one sentence and the other imply an intense, mutual incomprehension. Is the trend to carry on toxic relationships perhaps the outcome of an example shown by the family? The director looks for an answer. 

 

Through the parents’ private archive, and the conversations with the mother and grandmother, a journey is made, which seems however to lead always back to the starting point. As though in a limbo, the director and her parents do not seem to find a destination, and life seems not to ever change.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 20th to 27th October | online on MyMovies
 AVAILABLE IN ITALY ONLY
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The voices of five women fill the sound space of the film weaving the thread of a plot: a woman reads the tarot cards; the survival of the “Circeo Slaughter”, one of the most wicked acts of abduction and violence in the story of Italian crime news, answers the questions of a journalist; a woman charged with th killing of four people is questioned by the prosecutors; a woman tells about her relationship with death, while another one looks in religion an answer to violence. 

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        ["post_title"]=>
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27th October, from 3pm to 5:30pm 
live on facebook: home movies - archivio nazionale del film di famiglia 
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Towards the Pathé Baby Hundredth Anniversary The Audiovisual Italian Heritage in 9,5mm

World day for audiovisual heritage UNESCO

 

With the “‘le cinéma chez soi” slogan, “cinema at home”, a hundred years ago small gauge film started spreading through families. A true revolution and a utopia, which in time becomes reality, cinema within everyone’s reach, from family films to all the home movie and amateur and experimental cinema forms.

 

The day dedicated to 9,5mm film format, on the eve of the centennial of its invention, 1922-2022, wants indeed to present the first outcome of the italian 9,5mm film heritage census, a research lead by Home Movies – Archivio Nazionale del Film di Famiglia, in collaboration with Università di Udine and INEDITS – Amateurs Films / Memory of Europe, which involved, up to date, Italian film libraries and film archives.

 

Curated by Mirco Santi (Home Movies), Paolo Simoni (home Movies), Andrea Mariani (Università di Udine), within the scope of the homemovies100 project.

 

The detailed programmed schedule: 

 

15:00-17:00. Round-table discussion about the Italian heritage.

 

Speech from the film libraries and film archives which adhered to the project.

Maria Assunta Pimpinelli, Centro Sperimentale di Cinematografia – Cineteca Nazionale
Elena Testa, CSC – Archivio Nazionale Cinema Impresa
Andrea Meneghelli – Cineteca di Bologna
Paolo Cherchi Usai e Alice Rispoli – Cineteca del Friuli
Matteo Pavesi – Cineteca Italiana di Milano
Stefania Carta e Anna Sperone – Museo Nazionale del Cinema di Torino
Ilaria Ferretti – Home Movies – Archivio Nazionale del Film di Famiglia

It participated in the census  AAMOD – Archivio Audiovisivo del Movimento Operaio e Democratico of Roma.

 

17:00-17.30. Special screening with live-added sound.

Memoryscapes 9,5mm. A selection of amateur 9,5mm films from the 1920s and 1930s as on display on the website Memoryscapes / Il cinema privato online, with live sound by Francesca Baccolini, with double bass and synth.

 

The whole day worth of events  will be live streamed on Home Movies – Archivio Nazionale del Film di Famiglia Facebook page.


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Patrizia Vicinelli on the walls of Bologna, among lives succeeding each other - relentless - through the streets of her city. 
 

From the 1st to 30th September, Patrizia Vicinelli’s poetry will resonate in the urban spaces of the city, too, thanks to the billposting of CHEAP’s posters. In 19 bulletin boards scattered throughout the streets of Bologna there will be posters with words and images excerpted from the author’s texts in the spirit of an in-transit poetry celebrating the epic and the ethics of the wayfaring dear to the poetess.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]STRADA MAGGIORE GRANDE
Soltanto l'amore soltanto l'amore
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Patrizia Vicinelli, Cenerentola (1978)

 

SAN VITALE
un desiderio di felicità
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Patrizia Vicinelli, Cenerentola (1977-78)

 

VIA D'AZEGLIO
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Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

VIA CA' SELVATICA
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Patrizia Vicinelli, diario (1969-70)

 

VIA SANT'APOLLONIA
Durante la costa dei millenni
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

NAZARIO SAURO
La coincidenza dell'essere
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

VIA SANT'ISAIA
Hai sparso sorriso e io
sono virgola

Patrizia Vicinelli, La premessa è (1964)

 

BOARD VIA DELL'ABBADIA
Patrizia Vicinelli, Apotheosys of schizoid woman (1969-70)

 

 

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Patrizia Vicinelli on the walls of Bologna, among lives succeeding each other - relentless - through the streets of her city. 
 

From the 1st to 30th September, Patrizia Vicinelli’s poetry will resonate in the urban spaces of the city, too, thanks to the billposting of CHEAP’s posters. In 19 bulletin boards scattered throughout the streets of Bologna there will be posters with words and images excerpted from the author’s texts in the spirit of an in-transit poetry celebrating the epic and the ethics of the wayfaring dear to the poetess.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]STRADA MAGGIORE GRANDE
Soltanto l'amore soltanto l'amore
da ogni paura ti libererà
Patrizia Vicinelli, Cenerentola (1978)

 

SAN VITALE
un desiderio di felicità
La forza d'ottener la libertà.
Patrizia Vicinelli, Cenerentola (1977-78)

 

VIA D'AZEGLIO
Non c’è arrivo non c’è sosta
non c’è partenza, ma il succedersi senza tregua
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

VIA CA' SELVATICA
La memoria è la trama dell'universo / La memoria è il trauma dell'universo
Patrizia Vicinelli, diario (1969-70)

 

VIA SANT'APOLLONIA
Durante la costa dei millenni
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

NAZARIO SAURO
La coincidenza dell'essere
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

VIA SANT'ISAIA
Hai sparso sorriso e io
sono virgola

Patrizia Vicinelli, La premessa è (1964)

 

BOARD VIA DELL'ABBADIA
Patrizia Vicinelli, Apotheosys of schizoid woman (1969-70)

 

 

Each board is provided with a QR Code. By scanning it, you will have access to the Archivio Aperto online archive selection dedicated to Patrizia Vicinelli.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Patrizia Vicinelli, I fondamenti dell’essere 

 

Poet, performer, artist, experimental filmmaker from Bologna: thirty years after her demise, Archivio Aperto celebrates the poetry of Patrizia Vicinelli (1943-1991) with Patrizia Vicinelli - In transito, a composite project curated by Giulia Simi and dedicated to the rediscovery of her figure, with events, screenings, readings and exhibitions.

 

Opening event of the XIV edition of Archivio Aperto, Patrizia Vicinelli - In transito is starting Thursday 2nd September at the Teatro Comunale in Bologna, when her images, her voice and her words will meet live the trumpet of Paolo Fresu, one of the most renowned jazz musicians internationally. An original live sound addition during which there will be, for the first time in colours, the work Apotheosys of schizoid woman, a booklet of visual poetry made between 1969 and 1970 during her exile of the poetess in Morocco, and published in 1979 in black and white on the avantgarde magazine «Tau/ma», founded and directed by Mario Diacono e Claudio Parmiggiani. The booklet resurfaces thanks to an archival research which shed light upon 27 diapositives made with partner Gianni Castagnoli and extends in its multifaceted opulence of signs and materials: the graphic trait, the collage, the excerpt from newspapers, magazines, telegrams, medicine boxes all live with Vicinelli’s thoughts and family pictures.

 

The booklet weaves with never-seen images from the film archive of Home Movies - a Super8 film from the 1970s and an excerpt of the Non sempre ricordano (1987) video performance, both shot by Castagnoli - and Alberto Grifi’s pictures, preserved by association of the same name. It isn’t the first time that Vicinelli’s words and Fresu’s trumpet meet: the two of them made, in 1989, the show Majakovskij il Tredicesimo apostolo, a concert  for voices and trumpet later published in a CD by label Cramp Records - extremely rare as of today.

 

 

Reservation is compulsory and seats are limited. You can buy your ticket on Vivaticket at this link. In person sale will take place on 2nd September only, at the Teatro Comunale of Bologna, starting at 18:00.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
PATRIZIA VICINELLI – POSTER ART
From 31st August to 30th September, Vicinelli’s poetry will resonate even in the city spaces thanks to the collaboration with Cheap, independent of street-art promotion: in 19 notice boards scattered throughout the streets of Bologna, there will be posters with words and images excerpted from the author’s texts in the spirit of an in-transit poetry celebrating the epic and the ethics of the wayfaring dear to the poetess.

[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
PATRIZIA VICINELLI  – MEETINGS
 

The festival will be structured in a series of meetings with those who knew Vicinelli's person and works closely. In the Stabat Mater hall within the Biblioteca dell’Archiginnasio, a lecture by Niva Lorenzini (3th September, 17:30), lecturer of Italian poetry of the XXth Century and amidst the most important scholars of the works by Vicinelli, and a meeting with Daniela Rossi and Jonida Prifti (22nd September, 17.30): the former curates the Di Versi In Versi festival, and followed

 

The series of meetings will end on the 26th September with the round table discussion in Villa Aldini, in collaboration with the “Patto per la lettura” of Bologna within the Inosservanza festival context, as curated by the theatre company Archivio Zeta: they will take part at the meeting, curated by Lorenzo Mari, translator and poet, and Beatrice Seligardi, comparative literature scholar, poet Alberto Masala and poetesses Loredana Magazzeni and Rosaria Lo Russo.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]More info about the events and the booking methods will be available from Wednesday 25th August.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]



 

Patrizia Vicinelli – In transito

 

A Home Movies - Archivio Nazionale del Film di Famiglia project
In teh context of Archivio Aperto 2021 and Bologna Estate 2021, the programme sponsored and managed by Comune di Bologna and by Città metropolitana di Bologna - Destinazione Turistica.

 

With the support of the Bologna Municipality, Regione Emilia Romagna, MiC.
In collaboration with Comunicamente, Kiné, Cheap, Associazione Alberto Grifi, Patto per la Lettura, Inosservanza – Archivio Zeta, Istituto Parri.
With the contribution of Unipol, Coop Fond, Lavoropiù.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Friday 3rd September, 17:30 | Stabat Mater Library
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The time is upon us to switch roles. Transgressive and magmatic: Patrizia Vicinelli’s poetry
 

In the Stabat Mater hall, within the Biblioteca dell’Archiginnasio in Bologna, Niva Lorenzini, lecturer of Italian poetry of the XXth Century and amidst the most important scholars of Vicinelli’s works, will enact a lecture rebuilding and analyzing the oeuvre of the cutting-edge poet.

 

In Patrizia Vicinelli’s pages, a material flows throbbing and bursting beyond the edges of the page, straying to a gesturality and an orality which undergo a rhythm of death and rebirth, in endless transformation.  

–Niva Lorenzini, preface to the volume Patrizia Vicinelli: Non sempre ricordano. Poesia, prosa, performance (curated by Cecilia Bello Minciacchi, Le Lettere, 2009).

 

 

Niva Lorenzini is lecturer of Italian poetry of the XXth Century and amidst the most important scholars of Vicinelli’s works, to whom dedicated several publications. Director from 2004 to 2007 of the DAMS degree course at the University of Bologna, and director from 2008 to 2011 of the Department of Italian Studies, she held lectures and conferences in many universities abroad. She is in the management committees of the Gramsci Institute in Bologna and the Associazione degli Italianisti (ADI). She is part of the editorial staff of many periodicals, including «Il verri». Her work includes La poesia: tecniche di ascolto. Ungaretti, Rosselli, Sereni, Zanzotto, Sanguineti, Porta (Manni, 2003); Dire il silenzio: la poesia di Andrea Zanzotto (Carocci, 2014); La poesia italiana del Novecento (Il Mulino, third edition, 2018).

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

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Friday 17th September, 20:00 | Serre dei Giardini Margherita, BO
From 22nd September to 27th October | online on MyMovies
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Amateur “means one who does something for the love of the thing rather than for economic necessity”
 

With Amateur Versus Professional (1959), short and legendary text which influenced generations of filmmakers, Maya Deren offers a manifesto of amateur cinema combining the political and poetical tones with practical advices and exhortations.

Juxtaposing Deren’s words and amateur films’ images – previous, contemporary and subsequent to the text, and coming from the Italian context – this short video curated by Home Movies is an anti-authoritative attempt to visualize Deren’s ideas about the freedom of making cinema without economical restrictions and heavy technical apparatuses, and about the use of the camera as an extension of her own body.

 



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Amateur Versus Professional
Maya Deren
 

«The major obstacle for amateur film-makers is their own sense of inferiority vis-a-vis professional productions. The very classification “amateur” has an apologetic ring. But that very word - from the Latin “amateur” - “lover” means one who does something for the love of the thing rather than for economic reasons or necessity. And this is the meaning from which the amateur film-maker should take his clue. Instead of envying the script and dialogue writers, the trained actors, the elaborate staff and sets, the enormous production budgets of the professional film, the amateur should make use of the one great advantage which all professionals envy him, namely, freedom - both artistic and physical.

 

Artistic freedom means that the amateur film-maker is never forced to sacrifice visual drama and beauty to a stream of words, words, words, words, to the relentless activity and explanations of a plot, or to the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes.

 

Like the amateur still-photographer, the amateur film-maker can devote himself to capturing the poetry and beauty of places and events and, since he is using a motion picture camera, he can explore the vast world of the beauty of movement. (One of the films winning Honorable Mention in the 1958 Creative Film Awards was ROUND AND SQUARE, a poetic, rhythmic treatment of the dancing lights of cars as they streamed down highways, under bridges, etc.) Instead of trying to invent a plot that moves, use the movement or wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired. 

 

Physical freedom includes time freedom - a freedom from budget imposed deadlines. But above all, the amateur film-maker, with his small, light-weight equipment, has an inconspicuousness (for candid shooting) and a physical mobility which is well the envy of most professionals, burdened as they are by their many-ton monsters, cables and crews. Don’t forget that no tripod has yet been built which is as miraculously versatile in movement as the complex system of supports, joints, muscles, and nerves which is the human body, which, with a bit of practice, makes possible the enormous variety of camera angles and visual action. You have all this, and a brain too, in one neat, compact, mobile package. Cameras do not make films; film-makers make films. Improve your films not by adding more equipment and personnel but by using what you have to its fullest capacity. 

 

The most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both. Make sure you do use them».

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

To be granted access to the event, a Covid-19 Green Pass is required.

 

In collaboration with Light Cone and Re:Voir Video.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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AMATEUR IS A LOVER
Back To Maya Deren And To Free Cinema

 

 

Filmmaker, theorist, activist, dancer, anthropologist, in her short, intense existence Maya Deren opened paths and pointed at roads never walked before she did. Considered to be the godmother of American avant-garde cinema, her work was an incredible source of inspiration for several generations of artists and her influence is still very strong. Today more than ever she is recognized as woman filmmaker capable of establishing herself at a very young age in a male world, a forerunner evading definitions, thus troublesome.

 

Deren, a gigantic figure of the Twentieth Century as an European relocated in America between the two World Wars, now as then she is a fixed point of return and an unlimited source of inspiration for the production of images, thought and art. For this XIV edition, Archivio Aperto pays tribute to her cinema with a section dedicated to her, Amateur Is A Lover. Indeed, the title recalls Maya Deren’s ideology about freedom, both artistic and bodily, of a cinema without the compulsions of the industry and made with a lightweight camera, her own body, the senses, the mind.

 

Amateur Is A Lover goes through her complete filmography in the best restored version available, with both live film screenings and online streaming on MyMovies: among the works, an unfinished opus filmed at the Guggenheim Gallery of New York, a “family film” with the cat as a protagonist, a “posthumous” work edited with the footage of the incredible experience in Haiti about dances and voodoo rituals, two documentaries dedicated to Deren’s life and works, a musical operation on three of her soundless films and a reinterpretation of a ravishing text of hers, throughout archive images.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
MAYA DEREN IN 16MM - LIVE AT THE SERRE OF THE GIARDINI MARGHERITA
Thursday 16th September, 20.00 - reserve your ticket

Meshes of the Afternoon - 1943, 14'
At Land - 1944, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
A Study in Choreography for Camera - 1945, 3' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
Ritual in Transfigured Time - 1946, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)

 

 

Friday 17th September, 20.00 - reserve your ticket

Amateur is a Lover. Reading Amateur vs Professional  - 2021, 5' | Archive selection curated by Home Movies. Voice and sounds di Francesca Bomo.
Meditation on Violence - 1948, 12'
The Very Eye of Night - 1958, 15'

 

Saturday 18th September, 20.00 - reserve your ticket

Divine Horsemen. The living God of Haiti - 1947-54, 1977, 50'

(O.V. with Italian subtitles)

 


 




 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite. 

To be granted access to the event, a Covid-19 Green Pass is required.

 

 

In collaboration with Le Serre dei Giardini Margherita/Kilowatt, Light Cone.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday 16th September, 20.00 - 16mm live screening | Serre dei Giardini Margherita, Bo
From 16th September to 27th October | on MyMovies
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Meshes of the Afternoon is my starting point [...] In such a way that it was not so much discovering a new medium as finally arriving at home, in a world whose vocabulary, syntax, grammar were my mother tongue; which I understood and in which I thought.

 
Filmed in silence - the soundtrack composed by Teiji Ito was added in 1959 - Meshes of the Afternoon is an anxious and surreal portrait of the inner facets of an individual: neurotic associations, games of shadows and mirrors explore as never before the ghosts of the women's psyche and identity, including sexuality. A poetic psychodrama whose centripetal narrative is modelled on the movements of the director's alter egos - in a continuous extra corporeal connection between the self and the Other - within a suffocating domestic space. An obsessive pursuit that ends with a liberation, from which emerges the Deren subjective experience of the world and the desire to reclaim feminine power.

 

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

To be granted access to the event, a Covid-19 Green Pass is required.

 

In collaboration with Light Cone e Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday September 16th, 20:00 – 16mm with live added sound | Serre dei Giardini Margherita, BO
From September 16th to October 27th – Original Version | online on MyMovies
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 What I do with my films... I believe they are a woman's film, and I think their specific temporal quality is the quality of a woman's time.

 
At Land is a dreamlike narrative in which a female character - played by the director - suddenly finds herself on a beach to make a journey, a détour in search of her identity, meeting other people and different versions of herself. Deposited on the seashore by the waves, whose motions are governed by contrary laws, Deren gets up to enter the earthly world: alternating between anachronistic spaces, the subconscious of the protagonist is forced to come to terms with the myopic male vision that dominates society and the dominant film system. 

 

 

The film was intentionally thought soundless. We hereby present it live at the Serre of the Giardini Margherita in a version with added sound by musicians Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume) within the project SOUND IN TRANSFIGURED TIME in a free interpretation inspired to Maya Deren's dreamlike and surreal world.

 

 

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

To be granted access to the event, a Covid-19 Green Pass is required.

 

In collaboration with Light Cone e Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday 16th September, 20:30 –  16mm with live added sound | Serre dei Giardini Margherita, BO
From 16th September to October 27th – Original Version | online on MyMovies
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More and more I started to think about working with the formalised, stylised movement of dance, about taking the dancer out of the theatre and giving him the world as a stage
 

A Study in Choreography for Camera marks, according to the critics, the birth of "choreocinema": Maya Deren investigates and studies the direct relationship between movement - the absolute protagonist - space and the film camera together with the dancer and choreographer Talley Beatty, in a spaceless and timeless perpetual motion rendered by precise shooting and editing techniques. The Bolex 16mm rotates 360 degrees in "phrasing" - as Deren defines them - becoming Beatty's partner. The collaboration between director and performer is extremely intense: in just three minutes the two have the ability to free the human body from the confines of reality, between inside and outside, exploring new possibilities of perception. 

 

 



The film was intentionally thought soundless. We hereby present it live at the Serre of the Giardini Margherita in a version with added sound by musicians Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume) within the project SOUND IN TRANSFIGURED TIME in a free interpretation inspired to Maya Deren's dreamlike and surreal world.

 

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

To be granted access to the event, a Covid-19 Green Pass is required.

 

In collaboration with Light Cone e Re:Voir Video.



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Thursday 16th September, 20:30 – 16mm with added live sound | Serre dei Giardini Margherita, BO
From 15th September to 27th October – Original Version | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The fluidity experienced in A Study in Choreography for Camera increases in Ritual in Transfigured Time, Maya Deren's fourth film. The illusion of constant motion is no longer given by the dance of the camera but by the silent chasing and floating of Rita Christiani (a dancer too), who moves from a domestic ritual to a party scene, a hypnotic dance followed by a perpetual fall into the marine world. Described as a "trance-film" by Paul Adams Sitney, the film is orchestrated around Christiani's interacting movements with the other characters - including Deren - who are also dancers, in "a cinematic ritual that is achieved not only in spatial terms, but in terms of a Time created by the camera".

 

 

The film was intentionally thought soundless. We hereby present it live at the Serre of the Giardini Margherita in a version with added sound by musicians Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume) within the project SOUND IN TRANSFIGURED TIME in a free interpretation inspired to Maya Deren's dreamlike and surreal world.

 

 

In collaboration with Light Cone e Re:Voir Video.

 



 

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Friday 17th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Stan Brakhage described it as one of Maya Deren's most personal films: "She is the camera, she's moving, she's breathing in relation to this dancer".

 In Meditation on Violence, Maya Deren's camera is guided by the performative gesture of the Chinese boxer Chao Li Chi, in a performance that alternates the traditional training of the Wu-Tang and Shao-Lin schools. A metaphysical meditation that is realised through form, understood as a whole, between slowdowns, still images and imperceptible reiterations.

 "The maximum of an extreme becomes its opposite. Here the maximum of violence is paralysis", explains Deren: the metaphysical concepts linked to Chinese boxing are elegantly materialised in the gesture itself and in its making, a privileged means of visual expression.

 

 

In collaboration with Light Cone e Re:Voir Video.

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

To be granted access to the event, a Covid-19 Green Pass is required.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Friday 17th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Very Eye of Night was the last film Maya Deren managed to complete, as well as the longest and most expensive of her career: shooting began in 1952, the film was not completed until seven years later. The work is a stylised choreography, a "celestial ballet" made with the students of the Metropolitan Opera Ballet School in New York that depicts cosmic individuals dancing - swimming, flying - in the night. 

 

To render the nocturnal atmosphere, Deren prints the whole film in negative: "If the earth is round and turns what by day is an abyss, by night is heaven; and the life of the day and that of the night are one the negative of the other". With music by Teiji Ito, The Very Eye of the Night is to all intents and purposes a metaphysical visual poem which, also influenced by Haitian culture, embraces a new form of experimentalism from which the primacy of the imagination emerges.

 

 

In collaboration with Light Cone e Re:Voir Video.

 



 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

To be granted access to the event, a Covid-19 Green Pass is required.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Witch's Cradle was filmed at the Guggenheim Gallery during the surrealist exhibition "Art of this Century" and it was assembled long after the director's death by the staff of the Anthology Film Archives. 

 

It was made in 1943 in collaboration with Marcel Duchamp, who appears with actress and protagonist Pajorita Matta: esotericism, the occult world and witchcraft are intertwined, like the string that Duchamp handles.The camera is already a choreographer that follows Matta, who may be playing the role of a witch (or a possessed?) wearing a mark on her forehead with an infinitely repeatable inscription, "The end is the beginning is the end...", in the evocation of that mysterious and divinatory atmosphere that will also be present in her future films.

 

The genesis of the film draws certainly inspiration from Deren’s experience, since forever fascinated by the statuses of conscience alteration and interested in the psychic mazes. In Autumn 1939, in fact, she started working for the United States writer William Seabrook, who commissioned her some research about witchcraft. Their collaboration did not last very long and came to an end after a period of stay in the writer’s mansion. As she tells in a letter, Deren was asked to undergo some practices of supposed occultism which upset her quite a lot: among these, that of sitting with legs astride on Seabrook’s “witch’s cradle”, “some sort of medieval chair, very narrow, where the witch apprentices had to stay sit to be able to ride a broomstick”.

 

In collaboration with Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Every evening, before going to bed, around two o'clock, Maya Deren went for a walk with her cats along the Hudson River. The Private Life of a Cat was directed with her husband Sasha Hammid and is an "intimate study" of the childbirth of their cat Glamour Girl in their New York flat on Morton Street.

 

Filmed entirely at cat eye level, the close-ups intentionally exclude any human presence and render an autonomous, free feline world, capable of surviving and generating life without the help of owners. 

 

 

In collaboration with Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Saturday 18th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Divine Horsemen. The Living God of Haiti was released posthumously in 1977. Edited by Teiji Ito and his wife, it encloses - in a delicate artistic operation - 50 minutes of the four hours of material shot by Maya Deren during her stay in Haiti - the Haitian Film Footage - during her stay in Haiti, in particular those of 1947 and 1949.

 

Deren’s Haitian project and ambition have distant origins, rooted primitively in her sensitiveness and predisposition to discovery, in the allure of the universe of Haitian rituals and tradition, shaken since her collaboration with Katherine Dunham. Deren’s first ideas of going on such a Caribbean journey date back to 1941 and they materialized five years later, in 1946, when she meets anthropologists Gregory Bateson and Margaret Mead: in that period they give a strong stimulus to ethnographic research in filmmaking, certain that film is an important tool of anthropological analysis.  

 

In 1947, Deren made her first trip with the aim of making a film that would relate the ritualistic aspect of Western children's games to Haitian rituals. The desire to film 'the logic of voodoo' led her to revise her initial desire into a much larger project which will take the aforementioned name of Haitian Film Footage, including even the pioneeristic idea to found an independent film industry on the island for 16mm productions. She will be back three other times, 21 months overall (the last trip was made at the beginning of 1955) and in 1953 she finishes the detailed anthropological book Divine Horsemen. The Living God of Haiti.

 

During this long period Deren's anthropological experience, nearly inevitably, is total, matching the director’s exploratory attitude accompanied by her deep and almost obsessive desire to fully understand the dictates of that culture - not by chance, she will be the first white woman to be initiated into the voodoo religion and she will be assigned a spirit guide, Erzulie, the deity of love - without ever betraying it.

 

Deren marks a new anthropological filmic modality, entirely authorial, which could only be realised through her, in the name of a physical crossing, of a body which is always located  at the centre: far enough from scientific practice and close in every sense to mythological practice, as though she was a divine horse-woman herself, a (unique) passage and intimate portal between the Haitian and western worlds. She catches mainly the sances, the possession ceremonies, the holidays (the Mardi Gras): she draws from time to time a proper rhythm and energy, made out of slow motions - on the spasms of the possessed bodies - and stretched durations, newly experimenting  about film time and the motoric possibilities of her Bolex camera.

 

The camera, in fact, is mobile and trundles in a circle, completely submerged in the community: this very immersion, almost a worship, is one of the causes - beside the financial one - which never allowed the director to come to an end of her project, in the utmost difficulty carried by the way the footage should have been edited and showed, both ethically and morally, without betraying the spiritual logic of the Haitian community to which she now belonged, in the full awareness of both weight and responsibility of her own artistic doing.

 

 

In collaboration with Light Cone e Re:Voir.

 



The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite. . 

To be granted access to the event, a Covid-19 Green Pass is required.

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From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Invocation: Maya Deren is the first feature film dedicated to Deren's life and work. Made for the BBC in 1988 by British director Jo Ann Kaplan, the biographical documentary traces her filmography through the narration of actress Helen Mirren, original recordings of Deren and interviews with Hella Hammid, Sasha Hammid, Amos and Marcia Vogel, Stan Brakhage, Jonas Mekas and Joseph Campbell. A choral narrative intertwined with sequences from his films: for each of them, Kaplan retraces Maya Deren's intentions, the genesis and deeper meanings of her narrative and directorial choices, between symbolism and cinematic resistance, in an unprecedented mosaic of her entire artistic oeuvre.

 

Jo Ann Kaplan (1945-2016) was born in New York and studied art at the NY Hunter College. She started filmmaking in 1969. She lived and worked in the United Kingdom since 1974 directing film and Tv programmes on many different subjects (mainly female) and with different formats, encompassing animation, dance and experimental films, documentaries and painting.

She taught editing at the National Film and Television School, at the Royal College of Art, at the Goldsmiths College Department of Media and Communication, and in other art colleges in Great Britain.

 

In collaboration with Women Make Movies.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 16th September to 27th October | online on MyMovies
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I am not covetous. I do not attempt to seize most of your days. I am glad if, on those rare occasions when truth can only be stated by poetry, you will remember an image, even just the aura of my films - Maya Deren

 
Martina Kudláček ventures into Maya Deren’s biography through the witness of those people who knew her and worked with her. From Jonas Mekas to Sasha Hammid, Katherine Dunham, Miriam Arsham, Graeme Ferguson, Marcia and Amos Vogel, Rita Christiani, Chao-Li Chi, Judith Malina and Stan Brakhage: under their gaze, an intimate and hypnotic portrait of “a modern myth” is outlined, capable of drawing the most hidden sides of her personality, pivotal to understand the complex metamorphosis connected to the Haitian experience.

 

Martina Kudláček was born in Vienna in 1965. She studied cinema, with a specialisation concerning documentary films, at the Film and Television Academy FAMU in Prague. Accomplished director, she is mainly in the field of research and archiving. In 2004 she received the Film Preservation Award from the New York Anthology Film Archives.

 

In collaboration with SixPackFilm.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday 16th September, 20:00 | Serre dei Giardini Margherita, BO
From 22nd September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
 Three films thought and left soundless by Maya Deren (At Land, 1944; A Study in Choreography for Camera, 1945; Ritual in Transfigured Time, 1946) give musicians Francesca Bono (Ofeliadorme) e Vittoria Burattini (Massimo Volume) the chance to create a dialogue with Deren through synth, drums and voice

 
A project for Archivio Aperto which was born to answer a curatorial question: to which extent abiding by philology and to which instead pushing towards the very experimentation Deren herself inspires through her work?

 

The idea of the choice we have made after talking to Pip Chodorov and Tavia Ito, it’s that one thing does not rule out the other - it is enough to claim the intentions - because even if Deren’s work was to shutter as a mirror in a thousand pieces we wouldn’t ever stop to look at ourselves in its shards. 

 

Francesca Bono’s intentions are clear: “I understood almost immediately what I wanted to do, a few frames were enough, I soon took sound notes and thought that my friend Vittoria Burattini would have been a perfect “partner in crime” to create a dreamlike and surreal sound. We have both confidence and reciprocal respect. I wanted to pay tribute to Deren, an extraordinary artist who inspired some of my favourite directors, and another musician I admire and with whom I shared a certain kind of poetics. I was looking for a sensorial sabbath, an immersion in the obsessive. I wanted a message to be clear: Women who make.”

 

 



Francesca Bono and Vittoria Burattini

 



 

 

The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.

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Submerged , in the green of the Serre dei Giardini Margherita
soon on www.archivioaperto.it
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A tribute to filmed cats before and after Maya.
 

The private life of a cat is the starting point of a kitten selection from the Home Movies archive, as filmed between the 1930s and the 1980s. Is it us humans to think to have tamed the cat or is it not the cat to believe to have completely conquered us? A tribute to Maya Deren's huge feline passion.

 

La selezione sarà presentata come installazione collaterale alle proiezioni in presenza. Sarà diffusa sul sito di Archivio Aperto e attraverso i social networks.

 

The selection will be on display as a side installation to the live screenings. It will be exhibited on the Archivio Aperto website and through social networks.

 

Dedicated to Maya, MagnifiCat.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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They (Not) Always Remember. Round Table Discussion About Patrizia Vicinelli’s Poetry
 

In Villa Aldini, in collaboration with Patto per la Lettura di Bologna, within the Inosservanza festival curated by the Archivio Zeta theatre company, there is going to be a round table discussion to talk and think about the presence of Patrizia Vicinell’s work in the contemporary poetical context. The meeting is curated by Lorenzo Mari, poet and translator, and Beatrice Seligardi, comparative literature scholar, and will be attended by poets Loredana Magazzeni, Rosaria Lo Russo and Alberto Masala. 

 

 

Lorenzo Mari lives and works in Bologna. He published some poetry books, among which Querencia (Oèdiopus, 2019) and Tarsia/Coro (Zacinto, 2021). He edited ZURITA. 4 poemi (Valigie Rosse, 2019; transl. Alberto Masala) by Chilean poet Raúl Zurita and translated Trilice by Peruvian poet César Vallejo (Argo, 2021).

 

Beatrice Seligardi is a comparative literature scholar and most of her interest lies in the relationship between literature and visual culture. She is the author of essays and articles, such as Lightfossil. Sentimento del tempo in fotografia e letteratura (Postmedia Books, 2020). She collaborated with the Cineteca di Bologna as an instructional tutor. Currently she is a university tutor at the University of Parma. 

 

Rosaria Lo Russo, poet, performer, translator and essayist, was born in Florence, where she lives, in 1964. She teaches, reads, writes and criticizes her own and others’ poems - in this case, she rewrites them by performing: poetry is her art and her craft, her spiritual and material experience. 

 

Loredana Magazzeni lives in Bologna and works in the gender studies, poetry and translation field. She published collections of poems and curated several sylloges about female poetry. She is part of the editorial staff of «Le Voci della Luna» and «Poesia condivisa in Poesia 2.0» literary magazines. She took part in poetry festivals in Rome, Trieste, Modena, Bologna. She is part of the group ‘98 di Poesia and collaborates with Libreria delle Donne and Biblioteca Italiana delle Donne in Bologna.

Alberto Masala, sardinian, lives in Bologna. He is a multilingual poet and writer. He was published in Italy, United States, France. He is in anthologies in Italy, France, Spain, Germany, Hungary, Russia, Albania, Bosnia, USA, Iraq. He is a translator (Kerouac, Ferlinghetti, Pey, Malina, Mereu, Hawad, Zurita). Over his career, beside directing artistic projects in Europe (Berlin, Amsterdam, Thessaloniki, Bologna, Sardinia), he took part in theatre, cinema, radio projects. He wrote musical works and collaborates with musicians from many parts of the world with whom he performs in live concerts.

 



 

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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The 8mm film diary of a couple, shot between 1936 and 1966. 

Budapest is a ghost-like city, where phantasmal shadows shift in a snowy view, in the clutch of cold and wind. Jenö is a bank clerk living in the elegant districts of the city, with his wife Dusi and their purebred dog. Since 1936 Jenö keeps a film diary in which he records, preferably, the moments spent with his wife and the in-laws, but also visions of his city and its worldly life: the entrance of a hotel, the crowd in front of a theatre, the elegant vehicles in the streets. 

According to Forgács, Jenö “could have been the best cameramen of his time, if he hadn’t worked as a bank clerk for the General Mortgage Credit Bank up to 1945”, he shoots long pan-shots along the river, arranges postcards of the most important city monuments, fixes the beauty of the bridges over the Danube. But the re-working effort made by Forgács with the help of Tibor Szemzö’s music, places these frames of little, private happiness in the wider perspective of historical memory.

The result is a heart rending elegy, the unsettling death dance of a society close to disaster and a country upon which the Nazi occupation nightmare looms.

The great main character of the film is Dusi the dog, catalyst of the eye of the camera and emotional reference point of the young couple, childless. The small tragedy of his death and the following burial ceremony is the dramatic peak of the events and the unveiling of a dull pain, working under the surface of the image. At the end of the war, Jenö keeps on, imperturbable, to film his daily routine and the new reality of a city in ruins. 

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From 1st to 27th of October | online on MyMovies
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Everything we see could also be otherwise.

Everything we can describe at all could also be otherwise.

Pèter Forgács
 

The work consists of seven short video essays that take up a few paragraphs from Ludwig Wittgenstein's Tractatus Logico Philosophicus, first published in 1921, with other texts by the Austrian philosopher. Short sequences, fragments of amateur films depicting a single moment, a banal, everyday gesture, constitute the material that Forgács moulds to engage Wittgenstein's theories on logic, language, reality and representation. A philosophical film and a key to Forgács' archival cinema.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October| online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The 1930s and Civil War Spain as seen in the eye of two amateur filmmakers. The first one, Joan Salvans, is the son of a wealthy Catalan industrialist, and he is a talented filmmaker, who is found dead with his father on July 14th, 1936, at the hand of an anarchist militant, six days after the break of the civil war. The second one is another young filmmaker, Ernesto Diaz Noriega, student of the Madrilen middle class close to republican ideas, arrested and put in jail . Ernesto manages to film his jail time, his release and the following way back to Madrid. 

 

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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Lisl Goldarbeiter’s story, the most beautiful girl in the world. Raised in Vienna in a poor family environment, she started winning contests very young, and in 1929 was unanimously chosen as Miss Universe, the first and last Austrian one. Suddenly worldwide famous, she travels and gets several  job offers, even from Hollywood, but in the end she prefers to stay in her own country, marrying a rich Viennese. 

 

Her cousin, Marci, since forever madly in love with her, is a passionate amateur filmmaker who films her and her family. With the Austrian annexation to Germany (1938) and the war, the situation gets dramatically out of hand. Persevering through time is romantic love. Thanks to Marci Tecnzer’s amateur images and Forgács’s masterful work, a very beautiful story can be finally told. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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 Lisl Goldarbeiter. A Queen in Wien"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The destiny of hundreds of thousands Hungarian men and women migrated to the United States between 1890 and 1921.

In order to tell their stories, Forgács weaved a great epic by using film archive material, both public and private, among which images of the origins of American cinema, re-working them with pictures and oral witnesses. This poetical document recalls the difficult moments of the arrival, integration and inclusion, which lay the groundwork for future to subsequent generations and their American dream, real and delusional at once. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]A four-generation saga in a Hungarian painters dynasty, starting from the half of the XIX Century. At the centre of the family epic, there is the painter and filmmaker Mária Gánoczy, a more-than-ninety-year-old brilliant artist who raised nine children. 

 

Picturesque Epochs is a journey through time, spanning two hundred years of Hungarian art and history as seen by the eye of those who paint. Forgács adds to the images art historian Géza Perneczky’s commentary. This monumental and intimate story blends painting and cinema, and so does with private and public life in the tragic story of Hungary. It is part of the series ‘Private Hungary’. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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        string(71) "Picturesque Epochs - The life of Mária Gánóczy painter and filmmaker"
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        string(129) "A journey in time through two hundred years of  Hungarian art and history, as seen in by four generations of painters. 




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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Through György Petö’s 8mm home movies, made starting 1938, Free Fall retraces the times before the Shoah, rebuilding the illusions of a Jewish Hungarian family, worn away step by step by the dark advancing of History. 

György Petö, middle-class and excellent mingling Jew, takes control of the family bank when his father dies in 1936. Passionate about music and boats, Petö buys an 8mm camera at the end of the ‘30s, and quickly become a prolific home movies producer, on which he fixes his love for his girlfriend Eva Lengyel, boat trips, holidays, anniversaries, friendships (among his friends, the great maestro Ferenc Fricsay), his marriage in 1941.

Meanwhile, slowly but relentlessly, anti-Semitic laws are passing: “The social life, the ceremonies, love, fun, they are all articulated by a psalm-singing voice, ‘singing’ the laws ever more restrictive towards the Isreal people, giving us faces, gazes and bodies stubbornly unaware of the swirl swallowing them, of a looming tragedy to which the solemn lines of poet Janos Pilinsky come as a seal” (Paolo Vecchi).

Despite the alliance between Hungary and Nazi Germany, the Jew community in Hungaru stays more or less untouched until the Spring of 1944, the year when Petö’s film memoires stop. Forgács puts in act an incessant coming-and-going from the political events and those private, submerging both in the melancholy and grave Tibor Szemzö’s musical flow - the clear and shrill sound.

Free Fall is part of the Private Hungary series.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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        string(137) "Through a Jew-Hungarian family descendant's films we watch, among hope and disenchantment, the advancing of History and its downfall.

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From 1st  to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Peeremboom are a numerous family of Dutch Jews; The Maelestrom – A Family Chronicle re-uses and edits images mostly taken from their home movies collection, documents on the events of their family life from 1933 to 1942: the very years when Nazism was born and grew wide in Europe. In 1940, The Netherlands are invaded by Hitler’s army; of all the member of their family just one will survive the deportation in the concentration camps. Simultaneously to the Peerembooms’ story - who film until the day they are forced to abandon the house by the Germans - the editing alternated Seyss-Inquart’s film memories, the Nazi commissioner for the occupied Dutch terrotories. 

The opposite destiny of two families - one doomed to extermination, the other to the guilt of the executioners - bestows a different quality to the two series of images, extraordinarily similar in showing frames of relaxed daily life. The archive material, in Forgács’s work, sometimes becomes exquisitely cinematographic: the use of freeze-frame stops the image in the moment of its perfection, catching the moment the frame peaks its “rightness” in composition. Some time, the presence of a gag raises the amateur film to a proper film; but the awareness of being on front of one of the most extraordinary historical documents about the Jew holocaust pushes the glance of the audience to an ethical distance, and toward the never stopping thought about what is exposed on film.

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        string(113) "The filmed chronicle of a Dutch Jewish family that unwittingly falls into the swirl of Nazi destruction. 



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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]It’s 1938 and Hitler expands his influence on Austria and Czechoslovakia: the Czechoslovakian puppet government wuickly turns anti-Semitic and Aron Grünhut, president of the Jew Orthodox community in Bratislava, arranges for the escape of about 900 Jews on two ships: one of this is the Queen Elizabeth. The entire trip, with its cargo of displaced people from Bratislava to the Black Sea along the Danube, is recorded by captain Nándor Andrásovits who keeps his “ship log” with an amateur camera. 

On another ship, the Noemi Julia, the travellers will get to their final destination: Palestine. Meanwhile, Hitler signs the treaty  for the alliance with Stalin; the agreement between the two countries establishes the transfer of a part of Romania (the Bessarabia) to the Soviet Union. The German people living there must be repatriated to Germany, and the Nazi headquarters rents the Queen Elizabeth to bring back in the homeland the German citizens. On the deck of that vey ship, two people’s destinies cross: the drama of people forced to live their land to make room for History's reasons. 

The archive images recovered and edited by Forgács outline a journey halfway from the biblical exodus and the lightheartedness of an unexpected adventure. The faces, in front of Andrásovitz’s camera, open up with a smile, curious. The films fix the moments of carefreeness: a wedding, dances on the deck, someone sunbathing, the beauty of girls. It’s the landscape images, instead, that outline a universe made of water and sky, space of the mythological tale in which to renew the walk toward the promised land. And it is Tibor Szemzö to dig into the images and to resurface the feeling of nostalgia and the pain for a lost homeland. In  The Danube Exodus, the exodus becomes the key concept to understand the story of World War II and to read the identity of the Jewish people.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
        ["post_title"]=>
        string(17) "The Danube Exodus"
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        string(466) "War stories: the exodus, as filmed by a ship captain, of a group of Jews from central Europe along the Danube river toward the Black Sea, and the opposite journey made by German farmers repatriated in Germany from the Soviet Union.


Storie di guerra: l’esodo, filmato dal capitano di una nave, di un gruppo ebrei del centro Europa lungo il Danubio verso il Mar Nero e il percorso opposto di contadini tedeschi rimpatriati in Germania dall’Unione Sovietica.
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      [28]=>
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Greece, 1940: the Italian army enters Athens, and six months later the German one does. The foreign occupation will cause a clandestine movement of Greek resistance, triggering a bloody civil war. The tragedy of World War II and the effects of the Nazi occupation on Greek territory would have gone without any image if mr. Angelos Papanasstassiou, broker, first, then entrepreneur and finally city councilman in Athens hadn’t had a passion for amateur filmmaking. 

Passion which coincided with bravery, in a time when the simplest act of taking a picture was punishable by death. Endangering his own life Angelos films the Nazi barbarities, the horror of mass graves, the partisans hanged on the street, mass executions, the people’s hunger, the tortured bodies of those who survived and those whi died. Simultaneously, with his little camera, he records his family life: the birth of the daughter, the smile of his wife, the parties with friends. At the end of the war Angelos hands in to the authorities his “war films”, which will later be used as proof of the committed crimes during the Nuremberg trials.

Forgács, after a minute research, edits together the shots stolen to the war with those filmed within the family, matching the great history with the private one: with a tremendous shrill, we watch the Nazi officers as they lay down 3622 in front of the Parthenon’s pillars, and the filming of Papanasstassiou’s daughter’s firts steps. In Forgács’s film the eye watching is a two-faced organ, continuously toppling its status and its perspective: the home movies have the happiness as an object, the historical document states the fear of the social body. In this way  life and death, joy and terror stand still, in front of each other, they encircle sieging; the images make the heart beat, both that of the individual and of history.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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        string(151) "The Greek resistance to the Nazi occupation in the images of a patriot from Athens, covertly filming the German-inflicted horrors on the population. 
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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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        string(169) "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.
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      [30]=>
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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]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]A family research encircling Monferrato and Canavese in the decades over the end of the XIX and the beginning of the XX Century revolving around Erminio Ferro, founder of the facility of the same name in Cuorgné. The stories of the ancestors, in their infinite uniqueness, almost always end up looking similar: recovering them, or perhaps, more ostensibly, getting a reconstruction mostly imaginary can shed light posterity, both present and future, about the meaning of their lives but above all it can provide a credible reason for our being. The style trait, necessarily and knowingly non-professional, is framed in the logic and the thought of Luca Ferro’s Private Cinema.

 
Luca Ferro, observations about Inchiesta di famiglia
 

«It’s not the high professional quality of image and sound I’m interested in, as a matter of fact I’d rather, and it is a preference partly forced by my limits and still real, imperfection and that which I like to address as the nno-professional (a different thing as compared to Brakhage’s amateur-ness). 

 

It is not just a trick to make a virtue out of necessity. In time I realized that it’s an added value, I mean it can be also considered as added value. In particular, when the waiver to the smoothness and to the pivotal layers defining professionalism both lead to highlight the immediacy of the video- and filmmaking practice, literally making the usual filters that (by standing in the middle) conceal the reality of the relation between that who films and that  being filmed (in the double meaning of filmed person and footage), returning to the work, especially in such circumstances when personal involvement is at its peak, a representation which is also “self-ethnographical” and then, to some extent, a true “authenticity”, limited to when we can use such an adjective as compared to the alteration inherent to the audiovisual practice.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 9th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Showed for the first time at the Galleria Milano for the inauguration of the ‘Falce e martello’ exhibition in 1973, this 16mm film was made by Enzo Mari with the working group of the students of the Centro Sperimentale di Cinematografia in Spring 1971. The film collects the exclusive witness of the union spokepersons, the employees and the workmen in the Minganti, Sasib, Comi Rhodiatoce, Châtillon and in the  Porto Marghera Petrolchimico.

 

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11th October, 21.00  | Auditorium DAMSLab - Piazzetta P. P. Pasolini 5b, Bologna 
Meeting and screening with Péter Forgács
 

[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Considered to be a master of found footage film and a pioneer in the archiving and re-working of amateur films, Péter Forgács is going to be in Bologna on October 11th to introduce the first Italian preview of the last two films in the Private Hungary series: Kemény György and Venom – A Diva in Exile.

 

Kemény György | 68', 2017, Hungary

The passionate portrait of Hungarian pop artist György Kemény, very much known in his country for posters, album covers, graphics and the “social” advertisement. Kemény is also a sculptor and author of modern installations, and performances. As with other protagonists in his films, Forgács draws a voyage through the XX Century and its “hidden stories”, with the life of the eighty-year-old Kemény, in this case told personally by him. The narrative has its counterpoint in the private films and in the abundant iconographic material, contextualised à la Forgács.

Chapter XIX of the “Private Hungary” series, the huge work-in-progress that Forgács started in 1988. 

 

Venom – A Diva in Exile | 29’, 2018, Hungary

Venom – A Diva in Exile (2018) is based on the tale of the same name by writer Zsófia Bán, about the troubled story of singer and Hungarian film star Katalin Karády. Diva in the Horthy era, she was accused of espionage during the war, imprisoned, tortured and banished from the radio and the theatres of her own country. After being released, she strived for saving numerous Jewish families, while the disappearance of the man she was connected to, arrested by the Nazis, first, and then by the Soviets, brought her to despair. Heartbroken, castaway and banished by the new Communsit regime, she went into exile in 1951, spending 15 years in San Paolo, Brazil, never playing in films or on stage anymore. She then lived in New York until her death (1990).

 

In collaboration with Dams50.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row][vc_row row_type="row" use_row_as_full_screen_section="no" type="full_width" text_align="left" background_animation="none" css_animation=""][vc_column][/vc_column][/vc_row]"
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From 16th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Ferrania is a place, a factory, a brand known all over the world which, for decades, made the history of the still and moving image in Italy. but Ferrania, today, is a wasteland where numerous former workers of the facility live, in search of a new direction.

 

The story of Ferrania, the film factory installed in a small town of the hinterland in Liguria, turned 100 years old. It is, at once, the story of a huge facility, a society, a brand and a territory: an entire valley involved in the chemistry of photosensitivity generations of men and women who, in the dark, crafted film rolls, film reels, X-rays, printing plates. A technologically advanced factory, enclosed within liberty buildings, surrounded by workers’ towns, crossed by the Bormida river and touched by the railway, immersed in the Adelasia woods.

 

From the installation in the Ferrania hamlet of an explosives factory in 1915, through Fascism, the long period marked by Eng. Luigi Schiatti directorship, the takeover by the American 3M, the union struggles, the speculations and the mistakes, in the end we get to the dereliction state, almost lunar, where the main characters of the film move around and where, despite it all, there are still business activities trying to start again.

 

A Kiné production. In association with Gargàgnanfilm.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 17th to 27th October | online on MyMovies 
Available in Italy only
Live screening + meeting with the director Sunday 17th October | Worldwide Preview
ore 18h30, chiostro dell'ex chiesa di san mattia, via sant'isaia 20
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Miraggi di pianura is a road movie shot along the Via Emilia.

The main characters of the film are the monuments standing out against the roundabouts placed on the main roads in the Po Valley, some all-round mirages appearing in front of the tired eyes of the car drivers who find themselves going through an endlessly industrialized landscape. These works are some kind of outlying, naive and surprising drive-in of the arts where cars are moving, moreover, hence their looking time is short, at times very short.

 Depending on the exit turn we have to take, they can even embody a dreamlike trait, and we ask ourselves, incredulous: did I just see what I saw? 

 

In collaboration with Accademia di Belle Arti of Bologna and Home Movies – Archivio Nazionale del Film di Famiglia.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 17th to 27th October | online on MyMovies 
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[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Mario Lorenzini was a workman, a hiker, a hunter and a member of the Walser community of Piedmont in Valsesia. In the 1970s he buys a super8 camera and starts filming the world around him. Through his lens we see the seasons go by in Priami, his little village on the border between Switzerland and Italy.

 

While with his camera, Lorenzini explores his community, in the film a second standpoint comes out which gives out the interpretation of his world, his life and his idea of cinema. His relation with manliness, and the lack of relation with the feminine world, is often underlined generating a conflict between the expectation of his community and the reality of being unable to grant them.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 17th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]A long, love phone call between the director and her boyfriend reveals the issues of their relationship, long pauses between one sentence and the other imply an intense, mutual incomprehension. Is the trend to carry on toxic relationships perhaps the outcome of an example shown by the family? The director looks for an answer. 

 

Through the parents’ private archive, and the conversations with the mother and grandmother, a journey is made, which seems however to lead always back to the starting point. As though in a limbo, the director and her parents do not seem to find a destination, and life seems not to ever change.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 20th to 27th October | online on MyMovies
 AVAILABLE IN ITALY ONLY
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The voices of five women fill the sound space of the film weaving the thread of a plot: a woman reads the tarot cards; the survival of the “Circeo Slaughter”, one of the most wicked acts of abduction and violence in the story of Italian crime news, answers the questions of a journalist; a woman charged with th killing of four people is questioned by the prosecutors; a woman tells about her relationship with death, while another one looks in religion an answer to violence. 

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        ["post_title"]=>
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27th October, from 3pm to 5:30pm 
live on facebook: home movies - archivio nazionale del film di famiglia 
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Towards the Pathé Baby Hundredth Anniversary The Audiovisual Italian Heritage in 9,5mm

World day for audiovisual heritage UNESCO

 

With the “‘le cinéma chez soi” slogan, “cinema at home”, a hundred years ago small gauge film started spreading through families. A true revolution and a utopia, which in time becomes reality, cinema within everyone’s reach, from family films to all the home movie and amateur and experimental cinema forms.

 

The day dedicated to 9,5mm film format, on the eve of the centennial of its invention, 1922-2022, wants indeed to present the first outcome of the italian 9,5mm film heritage census, a research lead by Home Movies – Archivio Nazionale del Film di Famiglia, in collaboration with Università di Udine and INEDITS – Amateurs Films / Memory of Europe, which involved, up to date, Italian film libraries and film archives.

 

Curated by Mirco Santi (Home Movies), Paolo Simoni (home Movies), Andrea Mariani (Università di Udine), within the scope of the homemovies100 project.

 

The detailed programmed schedule: 

 

15:00-17:00. Round-table discussion about the Italian heritage.

 

Speech from the film libraries and film archives which adhered to the project.

Maria Assunta Pimpinelli, Centro Sperimentale di Cinematografia – Cineteca Nazionale
Elena Testa, CSC – Archivio Nazionale Cinema Impresa
Andrea Meneghelli – Cineteca di Bologna
Paolo Cherchi Usai e Alice Rispoli – Cineteca del Friuli
Matteo Pavesi – Cineteca Italiana di Milano
Stefania Carta e Anna Sperone – Museo Nazionale del Cinema di Torino
Ilaria Ferretti – Home Movies – Archivio Nazionale del Film di Famiglia

It participated in the census  AAMOD – Archivio Audiovisivo del Movimento Operaio e Democratico of Roma.

 

17:00-17.30. Special screening with live-added sound.

Memoryscapes 9,5mm. A selection of amateur 9,5mm films from the 1920s and 1930s as on display on the website Memoryscapes / Il cinema privato online, with live sound by Francesca Baccolini, with double bass and synth.

 

The whole day worth of events  will be live streamed on Home Movies – Archivio Nazionale del Film di Famiglia Facebook page.


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Patrizia Vicinelli on the walls of Bologna, among lives succeeding each other - relentless - through the streets of her city. 
 

From the 1st to 30th September, Patrizia Vicinelli’s poetry will resonate in the urban spaces of the city, too, thanks to the billposting of CHEAP’s posters. In 19 bulletin boards scattered throughout the streets of Bologna there will be posters with words and images excerpted from the author’s texts in the spirit of an in-transit poetry celebrating the epic and the ethics of the wayfaring dear to the poetess.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]STRADA MAGGIORE GRANDE
Soltanto l'amore soltanto l'amore
da ogni paura ti libererà
Patrizia Vicinelli, Cenerentola (1978)

 

SAN VITALE
un desiderio di felicità
La forza d'ottener la libertà.
Patrizia Vicinelli, Cenerentola (1977-78)

 

VIA D'AZEGLIO
Non c’è arrivo non c’è sosta
non c’è partenza, ma il succedersi senza tregua
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

VIA CA' SELVATICA
La memoria è la trama dell'universo / La memoria è il trauma dell'universo
Patrizia Vicinelli, diario (1969-70)

 

VIA SANT'APOLLONIA
Durante la costa dei millenni
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

NAZARIO SAURO
La coincidenza dell'essere
Patrizia Vicinelli, I fondamenti dell’essere (1985-87)

 

VIA SANT'ISAIA
Hai sparso sorriso e io
sono virgola

Patrizia Vicinelli, La premessa è (1964)

 

BOARD VIA DELL'ABBADIA
Patrizia Vicinelli, Apotheosys of schizoid woman (1969-70)

 

 

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