FILM machine of seeing and hearing


Caprette

video

We will go into that dark place and my voice will accompany you. We will become children and go back in time. Now the theater is inside us, and our mind is a darkroom that allows images to arise. We open our eyes and thirty meters of oil-painted canvas flow past, frame upon frame, twelve scenes painted by artist Pierluca Cetera, his cycle of the apocalypse. 
The word apocalypse means to remove a veil, to reveal.
 
And I want you to pick a moment from the past, when you were a very little girl. And my voice is going to follow you, and my voice is going to change into the voice of your mother and your father, into the voice of your neighbours, of your friends, into the voice of your school and playmates, into the voice of your teacher. And I want you to come back to your classroom, just like a little girl who feels happy because of something that happened a long long time ago, something that you forgot a long long time ago.”  Milton Erickson
 
Film is a two-part performance-based installation where the languages and technologies of video art, robotics and sound design are filtered into the time-tested techniques of oil painting and storytelling. FILM pioneers techniques of cinematic archaeology.
Thirty spectators reach a place, a black room with a few rows of seats. A woman welcomes them and invites them to sit. She leads them gently onwards into the story. Total darkness lets them pay the utmost attention to the words. Little by little they travel towards the heart of the telling, but as they do so, the text loses its meaning and becomes pure sound. 
In the second part, twelve scenes painted on a 35-meter canvas are run past the viewers by means of motorized rollers. Light is directed onto details of the images, fledging out the subject matter. Like traditional picture stories, each character locks onto the gaze of the spectators, engendering puzzlement and flavors of emotion. 
Each character in the picture fades into the background, comes into being and ceases to be, evaporates and catches fire. Up-front and backlit fadeouts are interleaved so as to reveal the layering of brushstrokes, archaeological techniques for ‘unearthing’ cinematically. 
All the while, an original electronic-instrumental score emanates from each visual tile and the movement of the canvas.
 
concept, direction and videocompositing vincenzo schino - pictorical opera pierluca cetera - performer catia gatelli - text florinda fusco - sound design  federico ortica - technical direction and stagecraft emiliano austeri - video compositing supervisoring grazia genovese e paul harden / ackagi - sincronization and automation andrea belloni/ hacklab - mechanical project benigno riso/ hacklab - curator marta bichisao - administration marco betti - production fontemaggiore teatro - support ternifestival, nanaproject; artistic residency indisciplinarte, associazione demetra/centro di palmetta, corsia off, armunia.