The artists and the Independent Cinema Co-operative (1967-1970) in Rome. Films by Gianfranco Baruchello, Umberto Bignardi, Claudio Cintoli, Rosa Foschi, Karma Film, Anna Lajolo and Guido Lombardi, Mario Masini, Adamo Vergine
Immagine del tempo / Image of Time
Mario Masini, Italy 1964, 16mm transferred to video, black and white, sound, 4 min
Mario Masini, collaborator of Alberto Grifi, cameraman for Carmelo Bene and cinematographer of Teza 2008 by the legendary Ethiopian director Haile Gerima, explores the lithograph by the artist Emilio Vedova that gives the film its title. A wide range of movements over the lithograph and editing that alternates accelerated sequences of urban landscapes, daytime and nocturnal interiors, unfold against a background of a cut-up soundtrack from different sources.
Umberto Bignardi in collaboration with Alfredo Leonardi, Italy 1967, 8mm transferred to video, colour, sound, 8 min
Motion Vision was originally screened in alternation with slides as part of the rotating installation Rotor Vision, in Rome in 1967 for the seminal group show at L’Attico entitled Fuoco, Immagine, Acqua, Terra with the participation of Mario Bignardi, Mario Ceroli, Piero Gilardi, Jannis Kounellis, Pino Pascali and Michelangelo Pistoletto. In Motion Vision Bignardi constructs a curious repertoire of animal profiles drawn in colour on paper, alternated with pop icons and a sequence of everyday gestures: from the tying of neckties the film passes to walking nude figures in slow motion, alluding to Muybridge and his chronophotography.
World premiere of the restored film.
Adamo Vergine, Italy 1967, 16mm transferred to video, black and white, silent, 6 min
The film comes from an 8mm home movie shot by the filmmaker during an excursion in 1955. The sequences, joined in a loop, are projected on ground glass and shot again with an 8mm camera, using all the possible variations of speed and focus. The film is in the double 8mm format that was usually divided in two lengthwise, after developing, and then projected as standard 8mm. Instead, Adamo Vergine uses the full width as if it were 16mm film, in such a way as to show four film frames at the same time in the same projection, two for the left footage and two for the right.
Amour du cinéma
Rosa Foschi in collaboration with Luca Patella, Italy 1968, 35mm transferred to video, colour, sound, 12 min
Cinematography: Elio GagliardoMusic: Stefano TorossiProduction company: Corona Cinematografica
Defined as an ‘animated medley’ by its maker, the film is an animated photographic tribute to cinema through a gallery of stars from the silent era onward, alternating with more or less disorienting images of various origins. Through the widest range of techniques, recombined according to an associative logic that could evoke the cinema of the dada avant-garde, but also fashion magazines from the past, Amour du Cinéma is undoubtedly a singular film with pop overtones.
Primavera nascosta / Hidden Spring
Claudio Cintoli, Italy 1969, 35mm transferred to video, colour, sound, 10 min
Collaborators: Pino Borghini, Francesca Bolic, Fausta D’Eufemia, Vittorio CintoliCinematography: Elio GagliardoMusic: Francesco SantucciProduction company: Corona Cinematografica
An animated film using mixed techniques on the natural world and its metamorphoses, Primavera nascosta starts with a voyage in the tradition of abstract experimentalism, exploring sea creatures and then those of the air, only to digress towards heavenly space and astronauts, prior to the conclusion.
Anna Lajolo, Guido Lombardi, Italy 1968, 8mm transferred to video, colour, silent, 12 min
With rapid editing that alternates a wide range of sources through an extensive variety of shooting and editing techniques, A Corpo is a drift through the consumer imagery of the day, in which the body of the single individual corresponds to political struggle, militancy and anti-imperialist engagement against the war in Vietnam.
Costretto a scomparire / Forced To Disappear
Gianfranco Baruchello, Italy 1968, 16mm transferred to video, colour, sound, 15 min
The film is the story of the crude destruction, meticulously done by the artist himself, of a frozen turkey produced in America. The meat is placed in a wooden box and buried in a grave in a field. Dedicated to the fundamental concepts of the ‘lay military priesthood’ (terminology typical of the generals): discipline, honour and other sacred duties, the film is part of a trilogy by Baruchello against the Vietnam War.
Errore di gruppo n. 2 / Group Error N. 2
Karma Film, Italy 1972, 16mm transferred to video, colour, sound, 12 min
The film shows a woman mysteriously wandering, pistol in hand, through the streets of Lourdes, France. It is a portrait of Patrizia Vicinelli, the great poet active in the avant-garde Gruppo 63, who worked with the leading magazines of the time, close to both the theatre and the experimental cinema of Alberto Grifi andGianni Castagnoli.