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12th YEAR



Milano, Spazio Oberdan 
6 - 10 November 2002

Mutations: this is the title we felt best summed up Invideo 2002. First of all, mutations of the very material we deal with, video. Starting this year we have opened up to film for the cinema, or rather a kind of “ultra-cinema”. An inevitable step: with the advent and spread of digital technologies for filming and editing, the confines between film and video are becoming blurred. Switching from one format to another is growing ever easier, giving rise to all kinds of contamination, and image quality is no longer so dependent on the choice of medium.
So, technological mutations: some of these can already be glimpsed, in the wake of the many directors who have gone over to digital, with new ways of relating to cinema on the part of filmmakers long linked to video: merely curious about the novelty, or shifting to film (and sometimes to full-length, too) the creativity and wealth of effects already experimented with electronically. We like to think that Invideo, which from its outset in 1990 has closely followed mutations in the audiovisual field, will surely keep pace with these new metamorphoses in the media. Invideo provides a space to get to know them, and to join the struggle against media violence and mediocrity; it’s a point of convergence for creative tensions and tendencies, a place to compare and contrast new works and new audiences.
This year we have decisively confirmed the decision not to divide up the catalogue into separate sections: a good sign that the works are radically resistant to labels old and new, to being classified and pigeon-holed. Of course there are still important genres and neo-genres: the diary, video dance, the portrait, the music video. But there are also works which slide from filmed essay to autobiography, from formal experimentation to urban symphony, from scientific imaging to theatre, from photography to social documentary, from painting to literary references (ranging in turn from Ovid to Marinetti via Walter Benjamin and Japanese folktales).
And if on the one hand – for better or for worse – video art is becoming canonical (enshrined by exhibitions, celebrations, publications), on the other there are still so many new and recent videomakers bringing their talents and passions to audiovisual creativity for the first time. This year we had more work to choose from, and a higher proportion of debut works and first-time entries, than ever before.
We mentioned dance as a genre; it is well-represented this year, with a live performance as an extra: “mutations” of the body, which loses thickness and weight, discovering otherness through electronic metamorphosis; which goes so far from choreography as to become pure gesture, pure form; which enters into direct, physical dialogue with technology; which becomes painting in motion, an impalpable metaphor; or else which is played out on the gaps in our vision, the comparison with improbable spaces. Bodily mutations are also a theme in the works dedicated to the virtual actor, with critical reflections and an overview of recent experiments. The body is also, in a different way, a theme for the competition which this year becomes a part of the Invideo event. The title for the first ever Friends of Invideo competition deliberately included a first person reference: “Food and the Ego”.
Contemporary video also takes forgotten archival material, recreating and interpreting it for new generations and tackling issues of memory and history. We have included a selection of documentaries and diaries precisely because of their capacity to offer today’s viewers a glimpse of “real” stories, filtered through a different approach from that of the media, a subjective and emotionally involved view. As for the music video, Invideo’s exploration of the genre continues with a retrospective on internationally recognised Dutch audiovisual artist Anton Corbijin; there is also an interesting and offbeat compilation of “counter-videos”, another sign of the breaking down of an established genre (or neo-genre) through irreverent use of its stereotypes.
Another sidebar which we are happy to continue is "Poetronics", the alternative TV schedule made up of shorts, visual jokes, political and poetical reflections – it fits perfectly with the trend towards fusion and the crossing of borderlines.
The selection of works from Canada, following on last year’s UK season, allows us to check out an industry based on long-standing traditions and to see how its current subjects and approaches measure up with those of international trends: in this case, too, the emphasis is on hybridisation, fusion and decreasing dependence on a single medium. Always in touch with digital and multimedia “mutations” in electronic imaging, Invideo keeps a close watch on the Net for contributions with auteur or artistic status: an example this year is the work of Shirin Kouladjie, who moves from painting through interactive collage to web projects, paying special attention to the use of sound.
To conclude, let us go back twenty years: an interview with actor-director Carmelo Bene, newly “imaged” in a work which we wanted to include as a small tribute to the great master who died this year. Bene was never loath to take up a difficult, provocative, tendentious stance, but his intelligence never failed to be illuminating, either: he was an extraordinary, precious exercise for the mind.
On the subject of great masters, it was a duty and a pleasure to include a 70th birthday tribute to Nam June Paik, the "daddy" of video art.
There seems to be plenty of the right material here for an event which likewise hopes to offer its public a little intellectual exercise for the critical faculties (and the sheer pleasure) of viewing. An event which keeps its eyes and senses open to any and every mutation of the world, the species, vision.

Download INVIDEO 2002 programme


ADRIATICO Andrea, Pugni. E su di me si chiude un cielo, Italia, 2002. 8’ 

ANDERSON David, Motion Control, UK, 2001/02. 8’ 32”

APABLAZA Hernán, Emc = nada, Cile, 2002. 2’ 31” 

ASSEMBLE (Audiovisualresearche), Napoli Anthem, Italia, 2001/2002. 4’ 35”

BARESI Giuseppe, 120 mt S.L.M. Italia, 2001/02. 30’

BATTISTA Brunella, The Food & I, Canada, 2002, 11’ 

BECK Jack, Jon's Point, L.A, USA, .2002. 3’ 30” 

CAIRASCHI Gerard, Délices, Francia, 2002. 9’

CALOGERO Francesco, L’implacabile tenente Rossi, Italia, 2002, 23’ 

CARLISLE Susanna, Artemisia,  USA, 2002. 6’ 17”                           

                                 Reflections, USA, 2002. 6’ 30”

CHO Seungho, 67/97, USA, 2001. 7’40”

COULON Olivier - PISLER Eve – STEHR Pierre Gilles, Regards sans tain. Francia, 2001, 6’

CRUAUD  Pierre-Yves, Le silence est en marche, Francia, 2001. 3' 30"              

                                     L'hôtel des vies reproductibles, Francia, 2000. 3’   

DE BEMELS Antonin, Scrub Solo 3: Soliloquy, Belgio, 2001. 17’ 15”   (Argos) 

DIFIORE Jeremy, What's He Building in There? USA, 2001. 3' 20"  USA Sezione Controclip 

DJIAN Loic, La fête du Blé, Svizzera, 2001. 9’ 38” 

ESCALLE Alain, L’objet du désir, Francia, 2002, 2’    

EYCKEN Pieter, Plaisent aux dieux les taciturnes qui serrent la vie entre leurs dents, Belgio, 2000. 11’40” 

FEI Cao, View on the Move, Cina, 2001 5’   

FRANK Margit, Tumult. Versuch über die Metamorphosen von Ovid, Germania, 2002. 3’ 23“ 3' 23" 2002 Germania 

GARCIA Anouk, L'antre de, Francia, 2001. 6’

GIANIKIAN Yervant – RICCI LUCCHI Angela, Viet Nam, Italia, 2002 9’                

                                                                         Rom (Uomini), Italia, 2002, 13’ 

GORI Marcello, Ami, Italia, 2002. 1’   

GREENHALGH Cathy – BUTCHER Rosemary, Undercurrent, UK, 2001.  9' 35" 2001 UK   

HARSCH Robin, Sophie Calle, près texte, Svizzera, 2002. 14'    

HENRICKS Nelson, Planetarium, Canada, 2001. 21’     Canada 

HÖGLINGER Matthias, Vampiri in Val Gardena, Italia, 2001. 26’ 17”   

INGEN-HOUSZ Timothée, Wanderlost, Germania/Brasile, 2001. 9’ 30” 

IPPOLITO Carlo, Stagioni, Italia, 2002. 15’ 45” 

KALLIWODA Hans – MEIER Michi, The Europartrain, Olanda, 2002. 40’   

KOGUT Sandra, A Hungarian Passport, Francia, 2001. 72’ 

LIEVRE Pascal, Abba Mao, Francia, 2002. 4’ 

LORENZI Michela, Ich liebe dich, Italia, 2001. 2’ 54“ 

MENOZZI Daria, L’acqua in mezzo, Italia, 2002, 27’ 

MORIYA Kentaro, Tono: Between Folklore and Literature, Giappone, 2001. 11’ 30” HD (TV Man Union Inc) 

PEDRO, You Know what I'm Happy… Francia, 2001/2002. 1’ 37” 

PANDIMIGLIO Elisabetta – MENEGHETTI César, Zappaterra, talia, 2002, 25’     

PLUSS Vincent, The Moebius Strip, Svizzera, 2002. 26’   

RITTER Vera, Morning D-Lay, Germania, 2002. 4’ 30” 

SANTINI Mauro, Da lontano, Italia, 2002. 9’  

SCHIAVINO Michele – DI GIOVANNI Lucia, A piena voce, Italia, 2002. 45’ 

SCHILLACI Rossella, Ascuntami, talia/UK, 2002. 30’40”   

SGARBI Elisabetta, La notte che si sposta – Gianfranco Ferroni, Italia, 2002, 31’ 

SHIROIAN Ashot, Painting Stockholm, Svezia, 2002. 11’ 

TANTILLO Alessandra, Il salumificio, Italia, 2002 24’ 

TINHOKO, Spatial Lines, Austria,  2001. 4’   

TOSCANI Oliviero, L'orfano, talia, 2002. 25' 

TUNNOCK Helen - DA POZZO Simona. Her, Italia, 2001. 3’ 40”   

UUNILA Raimo, Contra, Finlandia, 2001. 9’ 

VERDE Giacomo, S'era tutti sovversivi,  Italia, 2002. 50’   

VERGNON-D'ALANçON Aymeric, Rapt in a Mirrow, Francia, 2002. 7’

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INVIDEO is an AIACE's project supported by: Ministero per i Beni e le Attività Culturali, Direzione Generale per il Cinema; Regione Lombardia, Direzione Generale Culture, Identità e Autonomie della Lombardia; Provincia di Milano, Settore Cultura; Comune di Milano, Settore Cultura e Musei e dalla Commissione Europea, Programma MEDIA.

INVIDEO cooperates with: Ambasciata del Canada, Centro Culturale Amici di Invideo (aderente all’UICC), Centro Culturale Svizzero, Conseil des Arts et des Lettres du Québec, Department of Foreign Affairs and International Trade of Canada, Goethe-Institut Inter Nationes Mailand, Medialogo, Fondazione Cineteca Italiana, Ondavideo. In collaborazione con MPI Electronic srl e Enoteca Ross & Bianch.