In-A-Gadda-Da-Vida

Modern nocturnal melodrama by Andrea Zingoni.

for Teresa Di Sio's song

Fifteen Mandalas, built through a natural connection between the operator and the computer using simple standard presets, are in fact tested around the hierarchies of perception, a sort of a backward journey towards the origin of thought, following the rhythm of thought within its place. natural: man.

Taken from the multimedia installation "Puccini/Opera", four synthetic settings from excerpts from Tosca, Boheme, Butterfly, Turandot. Production Pitti Immagine, Florence. First presentation within Pitti Trend 1987.

The short film, a collaboration between the multimedia research group Giovanotti Mondani Meccanici and Loretta Mugnai, combines both film and electronic elements. It is an adaptation of the famous story by Kafka. Julia Anzillotti portrays Mrs. Samsa, known for her work with the Italian theater-dance group Parco Butterfly, while Rolando Mugnai of the Magazzini plays Mr. Samsa, having previously performed in computer comics by GMM. Teresa De Sio makes a friendly appearance as an ironic Grande Diva who communicates solely through soprano vocalizations, accompanied by comedian Daniele Trambusti as her interpreter. The true core of the story consists of the Samsa household televisions, which emphasize and amplify the narrative's emotions.

Castle Dracula, Transylvania. The old Count, tired and disillusioned, is visited by the GMMs who wish to be vampirized in order to live forever. Infected by their diseased blood, Dracula dies. Finally, as he himself says, 'a mourning full of joy'.

In love with a mortal, the demon Aguares has lost his speech and speaks by emitting colors. When her beloved is nearing her end, Aguares sets out in vain search for the cellular regenerator capable of granting her immortality.

Tecnomaya in Infotown (New Dangers replace Fear) merges four years of research, which began in 1987 with techno videos for the Tenax discotheque in Florence, continued with the 1988 installation Run Go at the Murnik Gallery in Milan, and culminated with the 1989 Electronic Mandalas. The stratification of messages gives rise to Tecnomaya: the illusion multiplied by technology; hallucinatory emission and irradiation materialize into layered, infinite, indecipherable information, where false and real blend in epidemic immaterial irradiation.

Filming reworked electronically to make a dream story more real. You just have to let yourself be submerged by the waters of the Arno.

It is a work on dematerialization, it is not easy to work to destroy, to reduce vigorous bodies to flows of energy and light. A dance where all life becomes alive and the veil of common perception goes towards a happy drift while the secret energies of bodies, their most intimate molecular nature, materialize on the screens.

Compilation of GMM's works

Marionetti is a tender, ironic character, always poised between situations of simple comedy (Marionetti/marionette) or sophisticated futuristic atmospheres (Marionetti/Marinetti).

An anthology that delves into the activity inherent to audio-visual processing and their video-exhibition history

Leaving one's territory to begin a journey beyond chaos, beyond visible presences, towards a new psychedelic culture. An experiment. Bodies crushed, stretched, destroyed, decomposed and recomposed in a lysergic vision. The closest thing to videoart ever produced by GMM and therefore not too loved by the group.

Video excerpts from the homonymous video-installation produced in September ’86 for the “Arte degli Ambienti” Festival in Pantelleria. Later it was staged also in Firenze (October ’86), Perugia (April ’87) and finally in Palermo (June ’87, part of the collective exhibition “Per amor del Cielo” at the Modern Art Gallery). The installation is an ever-changing landscape of memories dedicated: “…to the black island, where a beloved shipwrecked friend, after having suffered for a long time has been turned into a fish”. The theme of the work is the shipwreck in all of its allegorical meanings. Mixing music, electronic images, voices, scenographic materials, GMM re-proposes the poetic reconstruction of a seascape populated by fishermen, castaways, wrecks, hallucinated backgrounds.