Senza sottotitoli
WITHOUT SUBTITLES
Performance for video and drawer.
Without subtitles it’s a mixed-media performance exploring the relationship between memory, projection, identity and overlapping gestures. Excerpts from famous films are projected onto a wall, or a board, covered with drawing-paper. Excerpts are shown in slow motion.
The performer tries to sketch images from very famous movies (as Mamma Roma from Pasolini) projected onto the board. Although the projection is very slow, images are ever-changing and very difficult to draw perfectly. What we have then it’s an effortful but vain try to turn images in motion into a drawing. As the projection goes on, the first movie sequence disappears, and we can see on the board the traces of the performer’s work on the drawing paper. A new movie sequence begins on the white board and the performer stars again to draw on it. More movie images, more overlapping art-work, more drawings.
In a sense, the performer tries to play a game in the conceptual interstice existing between the images projected and his own gestures as a drawer, his images being always inauthentic compared to the, so to say, originals.
Performance for video and drawer.
Without subtitles it’s a mixed-media performance exploring the relationship between memory, projection, identity and overlapping gestures. Excerpts from famous films are projected onto a wall, or a board, covered with drawing-paper. Excerpts are shown in slow motion.
The performer tries to sketch images from very famous movies (as Mamma Roma from Pasolini) projected onto the board. Although the projection is very slow, images are ever-changing and very difficult to draw perfectly. What we have then it’s an effortful but vain try to turn images in motion into a drawing. As the projection goes on, the first movie sequence disappears, and we can see on the board the traces of the performer’s work on the drawing paper. A new movie sequence begins on the white board and the performer stars again to draw on it. More movie images, more overlapping art-work, more drawings.
In a sense, the performer tries to play a game in the conceptual interstice existing between the images projected and his own gestures as a drawer, his images being always inauthentic compared to the, so to say, originals.
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