Italian filmmaker and artist, she has been working in Lisbon since 1991. Investigating the hypotheses of Cinema in the field of Arts, she has developed work for cinemas, stages, museums and galleries. After training in Romance Literature, she began a long collaboration with the Cinemateca Portuguesa as a programmer. In 1993 she created the first Super 8 installation for the stage, “Branco Sujo”, choreographed by João Fiadeiro. She made her directorial debut in 1998, joining the generation of directors who gave new life to documentary film in Portugal. Between 2002 and 2003, with the installation CCM at the Gulbenkian Foundation and the triptych CHANTportraits at the Museu do Chiado, focusing on the themes of migration and portraiture, she began her journey in exhibition spaces. The extensive body of work, films, film installations and site-specific, has been presented internationally in film festivals and exhibitions, being represented in the Modern Collection of the Calouste Gulbenkian Museum, the Nouveaux Medias Collection of the Centre Georges Pompidou and the State Collection of Contemporary Art. Among the most recent works “In Medias Res” (2014), Best Portuguese Film Award Arquiteturas Film Festival, Honourable Mention Temps d’Images Film on Art Award; “Terceiro Andar” 2016, exhibition Gulbenkian Museum, Doclisboa, 34th Torino Film Festival; “Questo è il piano” 2020, Doclisboa and MNAC; project “Andromeda”, exhibition Carpintarias de São Lázaro/ Festival Temps d’Images 2021.Guest lecturer at Ar.co, History(s) of Cinema. Researcher in Moving Image Arts, collaborator of the Centre for Research and Studies in Fine Arts (CIEBA), University of Lisbon, Faculty of Fine Arts.
17 OCT 21H15 BATALHA CENTRO DE CINEMA SALA 1 73’
2023 | PORTUGAL ITÁLIA | DOC/EXP | 73’
Andromeda summons the critical thinking, artistic and cinematic expression inscribed in the palinsesto of Italian television in
the 1960s and 1970s. It is the first age of the public television project, utopian and enlightened, the same years in which cinema profoundly questions its relationship with reality and
in which the experimental response of video art emerges. Short-circuiting subjective memory and collective memory, as well as the condition of the proto- and post-spectator, the film documents and revitalises the complexity of ideas and the arts at a singular moment in the history of the image.
Seeing again is not about the past, it is an exploration of possible displacements between the past and the present. I am guided by an
idea of transience in time, rescuing images from the archive through the anachronism of memory and affections, dis/arranging my/our gaze on that time in the relationship/presence of our gaze/thought in front of the screen. The images of the past look at us and ask us to appear before them.
It is not a question of reviewing in order to remember, of ordering the images and the events that occurred, in the form of a report or anal- ysis. In the editing operations, I dive into the archive to associate moments and movements, into the memory of my and our gestures and to discover the gesture and the frequency that now happen.
Blurring the boundaries between document and invention, revitalis- ing the confrontation with the new medium through the intermediation of the figure of a young and inventive viewer who manages the device and the flow of images, I place the viewer between the time of the first age of television and the real time of its presence, between memory and imagination, utopia and experimentation. Once and Now, between the past and the present, an idea of the future can also take place.
18 OUT 18H00 BATALHA CENTRO DE CINEMA SALA 2 60’
In this masterclass I share the research and materials that gave life to the ANDROMEDA project, the film and the exhibition.
Short-circuiting times and crossing different fields of thought, today I configure new research paths, in the joy of reinven- tion. For the first time, I am writing a film conceived from the archive, from that immense body of images that has continued to grow, unstoppable and at every moment, while we recklessly seek a possible way to deal with our memory. We are formed by what we see and creating images today ends up pushing us to also talk about the images we already have inside us.
Breathing in the television archive and in the subjective and collective memory, articulating voices, texts and diverse materials, Andromeda also tries to move between the exhibition form and the filmic form. The successive experiments in composition and editing, intended for the exhibition room, the cinema room or the conference room, reconfigure the proposal before the contemporary spectator, homo spectator-visitor.
Masterclass in partnership with the Instituto de Filosofia - Universidade do Porto
14 OUT / OCT 18H00 EDITORIA
DE 14 OUT A 14 NOV DAS 9H30 ÀS 17H00
FROM 14 OCTOBER TO 14 NOV FROM 2:00 P.M. TO 7:00 P.M.
Com o aparecimento do meio televisivo, perante a novidade do directo, o cinema reagiu questionando a fundo a construção do seu olhar sobre o mundo. Para Jean Renoira nova linguagem televisiva inspirava uma revisão profunda dos métodos de rodagem e de produção, da primaziado olhar do realizador sobre o real. Na recém nascida RTF, com o programa La clé des songes, em 1950, Chris Marker requisitava o capital onírico do espectador para a dimensão pública da televisão. Para Roberto Rossellini, que na última fase da sua vida se dedicou ao projecto enciclopédico de uma televisão humanista, cinema e televisão eram dois meios que podiam e deviam ser utilizados para o alargamento do conhecimento, chegando e tocar o mesmo público.
Surgiam internacionalmente todas as televisões possíveis.
A televisão pública aparentava poder criar, educar e reflectir sobre o mundo para o qual se dirigia, desenvolvendo publicamente um pensamento crítico sobre a construção do seu projecto. Estava em campo a grande complexidade do novo meio, testemunhada por visões utópicas e participati- vas de muitos artistas e cineastas, bem como pelo corpo a corpo com a televisão que Pier Paolo Pasolini soube estabelecer, trazendo para o debate público a consciência do genocídio cultural e linguístico em curso e uma crítica feroz ao sistema da comunicação de massa. A exposição articula as vozes destes cineastas com a matéria fílmica dos programas televisivos cita- dos no filme Andromeda, os fotogramas que revela- ram a sua materialidade na junção dos planos.