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ANALOGICA SELECTION 10 YEAR /
Retrospective / Part 2 /// 58' |
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Analogica nasce come evento spontaneo a Roma nel 2008, attraverso una serie di proiezioni di film in super8 e 16mm. Queste prime proiezioni erano organizzate in risposta alla progressiva scomparsa della produzione in pellicola, da anni in grande crisi economica e commerciale.
I primi eventi di Analogica sono dedicati a una vera e propria ''resistenza analogica'', all'idea cioè di mantenere in vita una tecnologia e il suo sapere che nei primi anni 2000 rischiava di scomparire in silenzio. Agli eventi di Analogica si creano contatti e reti di collaborazioni tra artisti e filmmakers, e nel giro di pochi anni si concretizza l'idea di organizzare un evento più strutturato e aperto. Nasce così la prima edizione di Analogica, che da subito propone una call internazionale per film esclusivamente realizzati in pellicola. Dal 2011 al 2021 sono stati selezionati e programmati oltre 350 film. Il cinema di ricerca e sperimentale è quello che da subito ha rappresentato al meglio l'identità di Analogica. Un cinema che esplora le tante possibilità che il processo chimico offre, e allo stesso modo recupera e ricicla fotogrammi, pellicole e conoscenze che contribuiscono a creare una nuova e interessante scena artistica. ANALOGICA SELECTION 10 YEAR / Retrsospective è un programma dedicato alla memoria e ai cambiamenti. 20 film che in modo diverso esplorano il tema della memoria e della trasformazione, film che nascono da una ricerca sulla materia stessa della pellicola, e che esplorano narrazioni e linguaggi estremamente personali e intimi. |
Analogica was born as a spontaneous event in Rome in 2008, through a series of super8 and 16mm film screenings. These first screenings were organized in response to the gradual disappearance of film production, which had been in a significant economic and commercial crisis for years. The first events of Analogica were dedicated to ''the analog resistance'', the idea of keeping technology and its knowledge alive, that in the early 2000s risked disappearing silently. At the Analogica events, networks of collaborations were created between artists and filmmakers. Within a few years, the idea of organizing a more structured and open event takes shape. Thus was born the first edition of Analogica, which immediately proposes an international call for films exclusively made in celluloid.
Over 350 films were selected and scheduled from 2011 to 2021. Research and experimental cinema is the one that immediately represented the identity of Analogica at its best. A cinema that explores the chemical processes and the many possibilities recycles old footage offers, creating a new and exciting art scene. ANALOGICA SELECTION 10 YEAR / Retrospective is a program dedicated to memory and changes. 20 films that explore the theme of memory and transformation differently arise from research into the very material of film and explore extraordinarily personal and intimate languages and narratives. |
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Intertropical vision by Adriana Vila Guevara
4'40'' / 2018 / Spain-Venezuela / colour, sound, 16mm Contrary to the standardization of a single hegemonic point of view, the “center” in the tropics is not the whole. It is the starting point of a powerful range of visions. This is a trip into the core of its multiple indomitable condition. |
Adriana Vila Guevara Venezuelan filmmaker, artist and anthropologist. Her work moves between the realms of documentary creation, ethnographic studies and experimental filmmaking. Focused on the materiality and immateriality of film in diverse forms (as screening, performance, and installation). She has screened her film work at relevant festivals and art centers, in Europe, North America and Latin America. Is co-founder of the independent analog film lab Crater-Lab, were other than developing her creative film work she teaches and curates experimental film programs and workshops.
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Assumptions of Your Phantom(sy)
by Karissa Hahn 2' / 2012 / USA / super8 The glorious nature of a phantom-like |
Karissa Hahn is a visual artist based in Los Angeles.
Her work articulates the nature of contemporary image reproduction and dissemination through the use of analogue and digital technologies. Whether creating performative films to highlight the hidden intensities of the everyday or blurring digital ephemera into physical reality through inkjet printing, she conjures up a storm of ’spectra ephemera.’ |
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I Was Here by Philippe Léonard
6' / 2012 /Canada / 16mm Sound by Mark Lowe These images were captured during a long afternoon spent sitting in front of the Pantheon in Rome, paced by the sound of a shutter regularly opening and closing for long exposures whose duration was counted off in a whisper. At precise intervals, the photosensitive surface recorded the constant flow of tourists, people-watchers, cars and animals as they moved, stopped, gathered, and took photos. The historic building thus reveals itself as a magnet whose pull on people has lasted for centuries. I Was Here is a reference to the common phrase often found scratched on public walls, marks left as visible proof of a person’s visit to a place. |
Like that age-old practice, travel photography is an
attempt to record a person’s presence in a particular place – a
photographed place taken home as proof.
The soundtrack comes from the same place, but from a different timeline: it was compiled from the audio tracks of amateur videos posted to YouTube. These audio snippets, all recorded in front of the same landmark, tell a collective story through each “I” that has recorded a visit to that same piazza. The clips of murmuring crowds were then edited and manipulated to give them a particular synchronization with the images. Philippe Léonard is a media artist working with film, photography and video, conceiving projections for live concerts and working as a cinematographer. |
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P.O.P. By Eduardo Menz and David J. Romero
3' / 2013 / Canada / super8 A super 8mm film created for the One Take Super 8 event started by Alex Rogalski and held annually by Double Negative Collective in Montreal, Quebec, Canada. Film portraits that capture a different state of mind. |
Eduardo Menz lives and works in Montreal, Quebec,
Canada. Eduardo completed his BFA in film production at Concordia
University in 2006. He is a member of the Double Negative Collective
who showcase international experimental filmmaker’s works as well as
exhibit their own films and videos at numerous festivals locally and
worldwide. Eduardo’s film work has always attempted to transgress and
interweave the boundaries of what defines fiction, documentary and
experimental film genres.
David J. Romero is a nomadic photographer who often follows the migration of the monarch butterflies between Canada and Mexico. His works moves between painting, performance, photography, video, and installation. |
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Renai no Daikyouen (Banquet of Love)
by Haruka Mitani and Michael Lyons 6' 14'' / 2014 / Japan / super8 Insects in their final moments chatter noisily, displaying extravagant colors and patterns – it is their great feast of love. This work was assembled to celebrate the 100th anniversary of Norman McLaren’s birth. The film was made by scratching and painting directly on exposed 8mm film. The audio stream was created using photosensors on the projection screen connected to an analogue synthesizer, allowing the film itself to act as a musical score. |
Haruka Mitani Independent film and video artist based in Kyoto, Japan.
Michael Lyons (born Thurso, Scotland) is based in Kyoto, Japan. |
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All That Is Solid by Eva Kolcze
16' / 2014 / Canada / 16mm All That Is Solid investigates Brutalist architecture through the surface of black and white celluloid. The film features three locations: Robarts Library, The University of Toronto Scarborough campus (UTSC) and the Ross building at York University. Footage of the buildings has been degraded using a number of chemical and physical processes. The film explores the utopian visions that inspired the Brutalist movement and the material and aesthetic connection between concrete and celluloid. |
Eva Kolcze is a Toronto-based artist and filmmaker
whose work explores themes of landscape, architecture and the body. Her
work has screened at venues and festivals including Anthology Film
Archives, The International Rotterdam Film Festival, International Short
Film Festival Oberhausen and The Images Festival.
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Full of Fire by Rhayne Vermette
2' 14'' / 2013 / Canada / super8 There are few alternatives for exiles. The homecoming may be postponed to an indeterminate future; one could settle for a replacement; and lastly, there is always madness. |
Rhayne Vermette was born in Notre Dame de Lourdes,
Manitoba. It was while studying architecture at the University of
Manitoba, that she fell into the practices of image making and
storytelling. Primarily self taught, Rhayne’s films are opulent collages
of fiction, animation, documentary, reenactments and divine
interruption. Ste. Anne is her first feature narrative.
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The Equatorial Calms by Derek Taylor
3' 37'' / 2018 / USA /16mm, found footage Optical ruminations on an unpredictable region of Earth where raging storms and calm waters coexist. Seafarers are not only contained within this indeterminate state, but also within the film frame. |
Derek Taylor's moving image work focuses on the intersection of documentary and experimental filmmaking, particularly as it relates to history and landscape, with a clear focus on the investigation of both the ephemeral and the permanent in the human experience. His work has been screened at numerous film festivals and screening spaces both nationally and internationally. He currently lives and works in Connecticut (USA).
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The Voice of God by Bernd Lützeler
9' 35'' / 2011 / India & Germany / 35mm If God would come down to earth and try to earn a living in Bombay, most probably he would very soon become successful as a voice over artiste, lending his voice to thousands of hindi movies and even more documentaries and public service films in India. A melo-dramatic docu-drama with voice-over in stop-motion and long-time exposure. |
Bernd Lützeler was born in 1967 in Düsseldorf, studied at University of the Arts Berlin, where he completed Maria Vedder's master class in 2003. Nowadays he lives and works as an artist and filmmaker between Berlin and Düsseldorf. In his works he often focuses on the aesthetics and perception of the moving image and sound, and their interrelation with technology and society. Several of his film- and video-projects have been produced in Mumbai. He is an active member of the artist-run, analogue film-collective LaborBerlin.
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Nutrition Fugue by Péter Lichter
4' / 2018 / Hungary/ 35mm found footage "Közért" (translation: "for the public") was a government owned chain of stores in Hungary, during the communist era (1948-1989). The word Közért is still used in the Hungarian language. Our film was made from the 35 mm celluloid raw footage of its advertisement: the film strips were digged in the soil, rotten with food and cut up in pieces. |
Péter Lichter is an experimental filmmaker. He publicated two poetry books at the age of 16 and 20. He studied film history and film theory at the ELTE University, Budapest. He writes his PhD-thesis about the relationship of american avante-garde cinema and the science-fiction movies. Peter makes short, found-footage, abstract experimentals and lyrical documentaries since 2002. His films were screened at festivals and venues like: Tribeca Film Festival - New York; Rotterdam IFF; Oberhausen Film Festival; Cinema 16 - New York; EXiS - Seoul; VideoEX - Zurich; MisALT – San Francisco; MIA - Los Angeles; Angers Premier Plans; Klex – Kuala Lumpur; Director Lounge – Berlin; Hungarian Film Week, etc. He is also one of the editors of the Prizma film-periodical. Peter frequently collaborates with composer Ádám Márton Horváth.
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