{"id":4332,"date":"2020-10-24T12:24:28","date_gmt":"2020-10-24T10:24:28","guid":{"rendered":"http:\/\/www.fondazionemorra.org\/evento\/independent-film-show-20th-edition\/"},"modified":"2021-01-15T14:44:58","modified_gmt":"2021-01-15T13:44:58","slug":"independent-film-show-20th-edition","status":"publish","type":"tribe_events","link":"https:\/\/www.fondazionemorra.org\/en\/evento\/independent-film-show-20th-edition\/","title":{"rendered":"INDEPENDENT FILM SHOW 20th Edition"},"content":{"rendered":"

July 2nd – July 4th 2020\u00a0<\/strong>
\nSTARTING PROJECTIONS at 9:00 p.m.
\nFondazione Morra – Museo Nitsch (Belvedere)<\/strong>
\nVico Lungo Pontecorvo 29\/d, Napoli<\/p>\n

Curated by Raffaella Morra, Emmanuel Lefrant, Andrea Saggiomo and Botborg.<\/p>\n

Independent Film Show 20 edition is among the most innovative international reviews of experimental film in Italy, from 2001 coordinated by Raffaella Morra and organised by E-M ARTS associazione culturale, in collaboration with Fondazione Morra.<\/p>\n

We\u2019re longing for emotional shocks, we do not want to postpone this meeting between film-makers and users, we want to live intensely these three days of Independent Film Show 20 edition and discover the solutions conceived to unhinge habits with direct and active participation. Without any gender division, the Independent Film Show is free and does not pursue fashions, routine, commercial constraint, requirement of numbers. These artists are skilled communicators of emotions, of sensual affections, of perceptual psychologies and, through the creation of complex audio-visual strategies, they devise mental exercises and investigative attitudes, they intersect memories, sensations, synchronizations and synaesthesias, they guide our understanding towards discovery of unusual cognitive mechanisms. They draw from their experiences, introspections, mental abilities and fragments of life; they ask users to reflect divergently, to interpret these emotions as uncommon interferences, outside of usual patterns. Since Independent Film Show first edition in 2001, we learned how to activate these unusual connections, without follow the intransigence of the categories, the linearity of the narrations, the rigidity of the pre-established functions. Independent Film Show\u2019s attendees are used to activate a deep involvement, which branches out in the mind like Escher\u2019s interconnected geometries, to sensually understand\/interpret, to be in tune. The creativity and the inventiveness are the common denominators of this film art, created by simulating the movement of carefully selected images, not using the habitual and the simplifications of automation.<\/p>\n

The two programs\u00a0Exposure to chance<\/em>\u00a0and\u00a0Welcome Happy Coincidences<\/em>\u00a0by Raffaella Morra are an incitement to overcome the adversities in order to not succumb, to seize the positive side in the randomness of life and to be able to see happy coincidences. These works are metaphysical paths that investigate the physicality of materials, such as the lava sand and stone in Matteo Fraterno\u2019s\u00a0\u0391\u03a0\u039f\u039a\u0391\u03a4\u0391\u03a3\u03a4\u0391\u03a3\u0399<\/em>, the natural phenomena like the wind in the videos\u00a0Vent<\/em>\u00a0by Patrick Bergeron and Flatform\u2019s\u00a0Nothing can be done against the wind<\/em>\u00a0(this year invited to the Cannes Film Festival), and the clouds in\u00a0Transformation<\/em>\u00a0by Telemach Wiesinger, composing mosaics of places and axes of reference in continuous transformation; and even, sharing fragments of life and human behaviours in Kengn\u00e9 T\u00e9guia\u2019s\u00a0Got \u2018Til It\u2019s Gone<\/em>, the multi-ethnic memories of alien territories in Giuseppe Boccassini\u2019s\u00a0Debris<\/em>, Julie Murray\u2019s\u00a0Orchard<\/em>, Fern Silva\u2019s\u00a0Tender Feet<\/em>, Malena Szlam\u2019s\u00a0Morfolog\u00eda de un Sue\u00f1o<\/em>, Colectivo Los Ingr\u00e1vidos\u2019\u00a0Itzc\u00f3atl<\/em>; and once again, to catch the visual-aural haiku by Mahine Rouhi\u2019s\u00a0PTKHO<\/em>, Hugo Verlinde\u2019s\u00a0B\u00e9telgeuse<\/em>, Sandra Davis\u2019\u00a0For A Young Filmmaker<\/em>, Billy Roisz\u2019s\u00a0brRRMMMWHEee II<\/em>, and the personal and historical memories in\u00a0Nach Osten Schauen<\/em>\u00a0by Deborah Phillips, and\u00a014 Juillet<\/em>\u00a0by Olivier Fouchard, with his words \u201c…in order to wake up the sleepers and to tell them that the revolution is not only a party…\u201d.<\/p>\n

Sight of Sound is Mike Cooper\u2019s program; for the past 50 years Mike Cooper has been a guitarist, a folk-blues songwriter, an explorer\/experimenter of music genres from improvisation to electronic sound, an author of essays and a historian of the Pacific music and musicians, a visual artist and film\/video-maker. Initially, he shot Super 8mm films, but as the medium became more difficult to buy and to get develop, he firstly found a small video-camera that produced a two and a half pixel image, and recently he updated to 10 megapixel Full HD Sanyo camera, as he says \u201c…small enough to be discrete and make hip-shots with\u201d. Mike Cooper realized some short videos that share a degraded lo-fi quality he likes so much, \u201clight poems\u201d as he defines them. \u201c…I tend to wander around with my video-camera in my pocket and just shoot stuff with no particular intention and I edited it after into something\u201d.<\/p>\n

Light Cone, a live collection<\/em>\u00a0by Emmanuel Lefrant, film-maker and director of this film\/video\u00a0propagator<\/em>, reflects the diversity of the distribution catalogue, from 1982 to today, and accounts the richness of this cinema that existed for more than a century on the edge of commercial circuits. Within there are represented all the great film movements of twentieth century\u2019s avant-garde together up to the contemporary, counting more than 5500 films, made from 1900 to today by more than 800 artists and film\/video-makers from all over the world. In this program there is\u00a0T\u00f6nendes Abc<\/em>\u00a0(Abc In Sound) 1933 by Laszlo Moholy-Nagy, missing for over 80 years, and found by BFI curators embedded in a reel of 16mm film that also contained Oskar Fischinger\u2019s\u00a0Early Experiments In Hand Drawn Sound<\/em>; and also some films and videos created between 2010-2019: Bea Haut\u2019s\u00a0Kitchen Beets<\/em>, J\u00e9r\u00f4me Cognet & Karen Luong\u2019s\u00a0Bruit Blanc<\/em>, Soetkin Verstegen\u2019s\u00a0Freeze Frame<\/em>, Kelly Egan\u2019s\u00a0ATHYRIUM FILIX-FEMINA<\/em>, J\u00fcrgen Reble\u2019s\u00a0Das Sch\u00f6pfwerk<\/em>, Jacques Perconte\u2019s\u00a0Or \/ Or, Hawick<\/em>, Jeremy Moss\u2019\u00a0Camera Sick<\/em>, Rajee Samarasinghe\u2019s\u00a0The Exile\/Pituvahalay\u0101<\/em>, i Lucie Leszez\u2019s\u00a0Borgo<\/em>, Jerome Hiler\u2019s\u00a0Words of Mercury<\/em>.<\/p>\n

Since 2009, 70FPS is an expanded cinema project by Andrea Saggiomo, in the context of which he improvised and collaborated with musicians and international artists including Andy Guhl and Seppo Renvall, Riojim, Gaelle Rouard, Cogne et Foutre, Botborg and others.\u00a0Ancora no!\u00a0<\/em>(2018) is a super 8mm film on which he printed by hand (with rayogram technique) insects and leaves together with other film clippings. The film does not present a linear continuity of frames; when projected (at variable speed) these images come to life, they enter in relation to each other, they produce noise, transforming themselves into a film through the gaze. There is no movie before someone projects it and someone else looks at it and listens to it.\u00a0Transparent Nature<\/em>\u00a0(just finished and premiered at IFS20) is described as \u201c\u2026transparent nature of the film material being hard tested by the will to look inside memories, deep inside the primordial broth from which everything originated and within which, like it or not, we are still immersed\u201d.<\/p>\n

Big Screen Brutals<\/em>\u00a0by Botborg is a celebration of six \u2018brutal\u2019 videos from current artists using a maximalist aesthetic in video art, digital art, electronic music, and noise. Expect glitchy, psychedelic, violent, and quite beautiful combinations sound and vision. These are electro-shamanic short circuits that lead to a new state of surreality: in Der Kleine Kreis\u2019\u00a0Clairvoyant<\/em>\u00a0the reduced quasi-geometric forms move over the screen in aleatoric patterns and form a synesthetic connection with the sound, UCNV\u2019s\u00a0Crashed Universal<\/em>\u00a0is made with a precise research of the way of digital media, in\u00a0Krushers of False Mechaniks (2D version)<\/em>\u00a0by The Superusers a light source becomes incandescent, change colors regularly before transforming into an intense explosion of wild collapsing patterns, Guillaume Vall\u00e9e\u2019s\u00a0Tzara I<\/em>\u00a0is a hybrid film\/video created from an obscure 16mm found footage documentary, inspired by Tristan Tzara\u2019s creative process, in\u00a0Anulus Pexie<\/em>\u00a0by Norihiro Sekitani & Sgure the colorful the collages are distorted examination of elements of the human body, Kokofreakbean said that to produce\u00a0God Knox<\/em>: \u201c… I used After Effects, Maya, Photoshop, Reaktor, Premiere, jenkem, dwarf callus shavings and elbow grease to conceive and carry out this self-insemination\u201d.<\/p>\n

Botborg is an international audio-visual performance group that fuses and rewires raw electronic signals to create intensely visceral experiences of sound-color synaesthesia. Using a complex array of custom electronics, Botborg create totally live multi-sensory assaults of interdependent color and rhythm, pushing the limits of technology to invoke the maximum possible stimulation of their audience\u2019s mind and body. Botborg\u2019s performances are essentially practical demonstrations of their \u2018meta-instrument\u2019 known as the \u2018Photosonicneurokineasthograph\u2019. This is a complex feedback machine incorporating an entangled mix of new and old technologies that are altered and customized to the unique features of every venue. Although the human operators of Botborg are skilled manipulators of the system, it is equally unpredictable and uncontrollable, allowing Botborg to look and sound vastly different on every occasion. All demonstrations are completely improvised, and no source material is used outside the Photosonicneurokineasthograph.<\/h5>\n
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