Antonello Matarazzo

Going back to the seventeenth-century iconography of the Vanitas, through an evocative visual metamorphosis "Karma baroque" tells over time and changes in the human body. "Karma" is a trip between life and death, a digital allegory in wich the body of the painting "re-mediates" the body of the video.

Many years have passed since the 1980 earthquake devastated Irpinia. Subsequent reconstruction profoundly changed the topography, leaving the ruins to bear witness to the tragedy like open-air museums. Walking among these stones, immersed in a dull silence for some time, one experiences the embarrassing sensation of being observed. Stones that seem to claim their own soul, and which now seem horrified by an unexpected visit...

There is no plan or a logic that designs our lives. It is increasingly exposed to the unpredictability, the contingency that, beyond our horizon of meaning, ends up instead to determine ourselves. Three episodes mysteriously linked together, three hypothetical "endings" for a movie never shooted.

A daring, helpless chaotic race going at breakneck speed towards the sea, following the current, escaping, like paper giants, every evil.

There's something wrong with the way things are perceived. A different, unfriendly view is to stand out among individuals as their own maker is spelling the rules from a tv set for them to keep on living or to die. No longer than a blow-up such an illusion will survive...

What would have happened if the Neanderthals had prevailed over Homo Sapiens? How would our species have evolved? How does art relate to evolution, and why in the world does evolution behave like a bricoleur? Last of all, just what does Marcel Duchamp have to do with all of this? This film is neither a documentary nor a portrait of the artist Pable Echaurren; it’s a kaleidoscopic meditation on our past, present and future.

Anna’s portrait

Chico Buarque and Maria Pia De Vito’s reinterpretation tells the story of Zuzu Angel’s grief, a mother who defied the Brazilian dictatorship following the death of her son.

"La posa infinita" puts on stage, yet again, the gap between mobile/immobile that emerges from the interface of cinema/photography, under the appearance of an ancient group portrait where the immortalized characters reacquire life artificially through minimal movements and an ambient sound that give the image crystallized in time, the feeling of something taking place “live”. An instant dilated to infinity represented by the waiting period before the snap.

The understanding of the world is also expressed through the body which keeps himself in the karmic process information. The choreography by Simona Lisi made for this video are intended to investigate, through a process of identification, the countless possibilities of biological metamorphosis taking a cue from the first experiments chronophotographic realized by Muybridge and Marey making use of a wide variety of wildlife species.

Freely inspired by the "Fatzer document", "The ruin of the Egoist Johann Fatzer" by B. Brecht, it is a reflection on narcissism and on the value of individual strength when applied in the opposite direction to common sense.

As a matter of Madness, is to move in circles. And you find yourself still wondering what it is. Declined with evil and with good: the madness of love and mad killing spree, act of madness and insane utopia. Madness is the limit beyond the Madman. Based on the Variations on Bass Madness, one of the most popular music themes of Baroque European musicians.