1+1=UNA MÁS
In this film, what we usually perceive as horizon line is rotated by 180 °, breaking and short-circuiting the image vertically (carrying the sense of interior and horizontal splitting, in terms of sensorial, exterior and multiplicative doubling, such as the spreading of the sound waves of a diapason).
Recalling for a moment the stone “band” that wraps (or liberates?) itself around the large column of the Fori Romani narrating the actions of the Emperor Trajan and imagining a large mirror aside: Short-circuiting the course of history by cleaving the image and multiplying the significants in an ambiguous game, where one feels himself almost observed. “By reversing the fruition, the work observes you”, claimed the beloved Fausto Melotti.
The succession of convulsive and arrhythmic images is accompanied by a minimal psalm music of impressionistic derivation, that favors – when added to the splitting of the image – a kind of doubling of the sensorial/emotive space while pushing us almost toward hypnosis.
A kind of questioning “habits” of the eye and ear characterized by a symbolic audio/visual short-circuit.
The conceptual approach of seeing yourself seeing, of hearing yourself speaking – an elementary projection into something else – is denied in favor of the imaginary function in order to re-examine what seems to be immutable: the sense of truth and the truth of the sense.
Recalling for a moment the stone “band” that wraps (or liberates?) itself around the large column of the Fori Romani narrating the actions of the Emperor Trajan and imagining a large mirror aside: Short-circuiting the course of history by cleaving the image and multiplying the significants in an ambiguous game, where one feels himself almost observed. “By reversing the fruition, the work observes you”, claimed the beloved Fausto Melotti.
The succession of convulsive and arrhythmic images is accompanied by a minimal psalm music of impressionistic derivation, that favors – when added to the splitting of the image – a kind of doubling of the sensorial/emotive space while pushing us almost toward hypnosis.
A kind of questioning “habits” of the eye and ear characterized by a symbolic audio/visual short-circuit.
The conceptual approach of seeing yourself seeing, of hearing yourself speaking – an elementary projection into something else – is denied in favor of the imaginary function in order to re-examine what seems to be immutable: the sense of truth and the truth of the sense.
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