Bad TV Trash
Video, Political / Social, Fantasy / Visionary, Architecture, Human figure, Landscape, Short film, 12:54
the video art work Bad TV Trash pays homage to the experimental music of the Italian composer Fausto Romitelli, who died in 2004. Distortions and harmonies borrowed from psychedelic rock music are a part of Romitelli’s music. His compositions create a hallucinatory atmosphere and are inspired by the drug-influenced drawings and written work of Henri Michaux.
The length of the cinematic collage Bad Trash TV is determined by the duration of Romitelli’s piece of music Trash TV Trance, 2002, for electric guitar. For the sounds and atmosphere of this composition Alessando Grisendi and Marco Noviello searched for cinematic images and in the rapidly changing settings they traced the rhythm of the piece. This visual representation of the song – the music in turn alludes to the image disorders in old CRT monitors – begins with the rhythmic flickering of a screen, which is overlaid by a shadow play interrupted by flashing images of surface structures till the focusing screen flicker seems to turn into an image of the starry sky. Light pulses alternate with images, sometimes superimposed, from the life of a city. The images from surveillance cameras in a subway and people hurrying through the streets, distorted by the screen of an old tube TV, turn into a view of a city from a bird's perspective, an eye and at the end of the film, the images dissolve back into shimmering points which could be impulses of light on the retina. Just as Romitelli’s music is at times painful to the ear, the rapid sequences of Bad Trash TV are painful to the eye. For the two artists they representing the violent conflict between the world seen through technology and reality.
The length of the cinematic collage Bad Trash TV is determined by the duration of Romitelli’s piece of music Trash TV Trance, 2002, for electric guitar. For the sounds and atmosphere of this composition Alessando Grisendi and Marco Noviello searched for cinematic images and in the rapidly changing settings they traced the rhythm of the piece. This visual representation of the song – the music in turn alludes to the image disorders in old CRT monitors – begins with the rhythmic flickering of a screen, which is overlaid by a shadow play interrupted by flashing images of surface structures till the focusing screen flicker seems to turn into an image of the starry sky. Light pulses alternate with images, sometimes superimposed, from the life of a city. The images from surveillance cameras in a subway and people hurrying through the streets, distorted by the screen of an old tube TV, turn into a view of a city from a bird's perspective, an eye and at the end of the film, the images dissolve back into shimmering points which could be impulses of light on the retina. Just as Romitelli’s music is at times painful to the ear, the rapid sequences of Bad Trash TV are painful to the eye. For the two artists they representing the violent conflict between the world seen through technology and reality.
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