(Des)encontro(2024)

Memories(it)

A site-specific video artwork in Gagliano del Capo, created for the exhibition “Ut pictura poesis. Vincenzo Ciardo, Cosimo Russo and the nature of Salento.

Oblio(it)

Spatial Memory(it)

Origini(it)

Tempus(it)

tVision(it)

De Novo, Perdição(pt)

What remains(es)

one-minute video made by students of the UNA Artes Audiovisuales

1,2,3... Barcelona!(xx)

Tourists eating and taking photos. Tourists strolling and taking photos. Tourists bathing on the beach and taking more photos. Barcelona has become an overexploited photocall to the point of paroxysm, and this is what this film shows by turning the camera and pointing towards the visitors. A small gesture that, added to a powerful sound contrast and a caustic sense of humour, exposes without subterfuge a grotesque normality.

The Third Part of the Third Measure(en)

The Third Part of the Third Measure creates an encounter with the militant minimalism of black avant-garde queer composer, pianist and vocalist Julius Eastman. The film focuses on what The Otolith Group describe as ‘an experience of watching in the key of listening’, invoking political feelings of defiance and the collective practice of movement building that participates in the global struggles against neoreactionary authoritarianism. The Third Part of the Third Measure invites viewers to attend to exemplary ecstatic aesthetics of black radicalism that Eastman himself once described as ‘full of honour, integrity and boundless courage’.

Proyecciones del Limbo(es)

Trivakra(pt)

The gushing syringe of a transvestite hormonal application ritual inaugurates a tridimensional failure in the matrix of gender and the molecular constitution of the body. Bones, skin and muscles are pulverized into the video and merge with the molecules of images in a cybernetic dissolution.

LIMINAL(es)

ATAVISM(en)

Within the video, two screens coexist. On the primary screen, a repetitive action takes place - the photo in the hands is periodically blurred. The focus of the viewer's attention is shifted to the secondary screen, which is more dynamic. The face in front of the camera, resembling clay, tries to take on images from archival photographs and video recordings.

Tropical Breeze(en)

"Every product contains part of the lives of the people who were involved in its production. It is very basic, but I find it beautiful because I like the idea of measuring the value of something not by its 'use value' but by the processes that were in its making -- the amount of 'life' that was put into it."

The Strangers(xx)

On weekends or holidays, the Zhongli train station in Taiwan is always filled with migrant workers who moved to seek out better economic or living conditions. In 1949, millions of Chinese soldiers and civilians migrated to Taiwan; they are regarded as ‘displaced persons’. Yuan’s father was one of these immigrants, a refugee of the civil war, a stranger away from home. For The Strangers, Yuan uses a high-speed camera and a high-lumen spotlight to shoot from the moving passenger car through the window. As the camera captures the face of each person standing on the platform, these strangers transform into sculptures, frozen in time.

Ver, Ouvir, Sentir.(pt)

Copan Thriller(pt)

Downtown of one of the world's biggest cities. The heart of Sao Paulo. One of the world's largest apartment buildings. Copan Building!

Brujas(es)

LowMovie(pt)