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10th YEAR



Milano, Scuola d'Arte Drammatica Paolo Grassi  
8 - 12 November 2000

The year 2000 marks Invideo's tenth birthday: a decade of attentive exploration of international video which covers a third of electronic art's thirty-year history to date. The Invideo archive – built up over the years by the acquisition of videos both famous and obscure, new and classic – now contains hundreds of titles and has become a unique reference source at national level for students and enthusiasts of this audiovisual art.
At every Invideo, the screenings of video art, whether by early pioneers, recognised masters, outlandish "heretics" or video geniuses, continue to be thronged by young people who are meeting for the first time with a language of expression that goes beyond the familiar – be it the familiarity of cinema fiction or the even more worn-out familiarity of TV. Discovering art video is like discovering poetry, or one of those amazing films which the critical establishment panned, or an all-time favourite play, an unforgettable piece of music.
For this time round we have added to the catalogue three essays covering the first three decades in the history of an art which has more trouble finding the right spaces for being seen and debated, than in finding an enthusiastic audience. As well as screening and discussion spaces, video also lacks strategic investment, a constructive vision and imagination on the part of the culture industry. In our view, an event like Invideo, with a proven formula, an established, growing archive and an activity that spans across the year, covering far more than just the usual hectic few days of a festival or exhibition, must also serve as a spur to intensify debate on these issues. After all, Invideo is itself involved with video ventures at various levels: supporting specialised publications which draw on its archive resources, fostering the effective use of the archive itself as a tool for conservation and promotion, liasing constantly with the most active forces in international video production, distribution and creativity. This is the background for this year's initiative of Co-ordination with other European video festivals, and also for the meeting with RAIsat Arte, which has been open to the electronic arts since its inception, broadcasting some classic videos.
We would also like to underscore a more numerous presence than ever before, in this year's programme, of artists who are completely new to the Italian and often to the general video art public: these are young artists, either making their debuts or else showing in Italy for the first time after success elsewhere.  We think it's important to discover and present these new videomakers from year to year, putting forward their fresh vision alongside the more famous artists who in a way are already part of the Invideo family. There are also innovations in this year's range of subjects: alongside familiar territories of international video creation, such as memory and backstage, we have a new and highly topical section on the virtual and technological body, as lived through dance or disturbing laboratory experiments, in animation or through visual reflections on (inevitable?) mutation.
The vision of places can become a political viewpoint in the widest and deepest sense of the word, in the many videos on emigration, the loss of dreams and ideals, even on the very sense of accumulating images, testimony, memories. One section is dedicated to writing as seen by video, with works that take up the difficult challenge of tackling the poetic word. A one-man section is dedicated to the remarkable Australian animation artist Peter Callas (who also has an exhibition of photographs). Callas combines a deep-rooted humanist culture with leading edge digital technologies to create impressive, burgeoning frescoes of our time, dense with symbolism ancient and modern. Lastly, "Techne" brings back the on-going developments in video installations, alongside single-channel video. This is no mean feat in Italy, where Invideo's efforts over the years have made us the major showcase at national level for this "anomalous" but fascinating art form.
The gut feeling is (awaiting the final judgement of our audience) that this year's programme has a higher level of "commitment" (in terms of language, aesthetics, social values, poetic and documentary content) than anything we've yet done. Perhaps the full control of technique and the passing of the "self-exploratory" phase have enabled video to be both more complex and more mature in recounting the world around us. And if video is gaining in quality and depth, then we, too, must make sure that Invideo grows with it in stature and content, as an exhibition venue but also as a vehicle of theory and criticism, and a place of entertainment and discussion.
At this year's Invideo, wandering through three decades of art in the various sections, between past masters and bright young hopefuls of the genre, viewers will have to make up their own minds as to the proper combinations: seeing a plea for multicultural humanity in a clever animated feature, a political message in the play of reflection of a body, an artistic innovation in a clearly socially-minded video, or an unexpected degree of realism in the artifice of processed imaging.
Video is an undisciplined art. To interpret, understand and enjoy it requires a measure of indiscipline in the way you look at it, too.

INVIDEO 2000 has also promoted the pubblication of the volume Segnali Video. I Nuovi immaginari della videoarte by Alessandro Amducci.

Download 2000 INVIDEO Programme in pdf format



- LEONARDO CARRANO: Il cerchio e la soglia. Italia, 1999. 6'

- SEOUNGHO CHO: Cold Pieces. USA-Corea del Sud, 1999.11'50" 

- MICHAEL GAUMNITZ: Des gouts et des couleurs, Francia, 2000.15 per 3'

-OPIFICIO CIPLOPE: Pastil. Italia, 1999. 5' 
                            Depositonero. Italia, 2000. 6' 
                            Life from Pluto. Italia, 2000. 7'46"

- LEONARDO ROMOLI: Omaggio a Turner (Kaleidos). Italia, 1999. 5' 
                              Battaglie. Italia, 2000. 2' 
                              Luce. Italia 2000, 1'

- ROSA BARBA/HERWIG WEISER: Distroia. Germania, 1999. 3'30"

- LAETITIA BOURGET: Manipuler son corps. Francia, 1998. 4'40"
- JULIEN DAJEZ: U-man. Francia, 1997. 5'
- N+N CORSINO: Captives (2nd. mouvement). Francia, 1999.12'17"

- ANNA DE MANINCOR: Da nero a nero. Italia,  . 14'08"

- ALLAIN PELLETIER: Die Dyer. Canada, 1999. 24'
- STEINA: Warp. USA, 2000. 5' 
               Trevor. USA, 2000. 11'.

- VEIT-LUP: Lippenbekenntnisse. Germania, 1998. 3'15" 
                 Tr---liquide. Germania, 1998. 4'10"

-PATRICK ZANOLI: Shiraga kazuo doro ni idomu, 1995. Francia, 1999. 4'


- ALESSANDRO AMADUCCI: Spoon River. Italia, 1999-2000. 45'

- CANE CAPOVOLTO. ISTITUTO DI OBBEDIENZA ANIMALE: La parola che cancella. Italia, 1999. 8'

- AGATA CHIUSANO: Annabel Lee. Italia, 1998. 15'

- GIOVANNI CODA: Tagli. Italia, 1999. 16'

- MONICA PETRACCI: As colors do. Italia, 1999. 3' 
                              Malamente. Italia,1999. 5'


- FRANCESCO ANDREOTTI/LORENZO GARZELLA: L'occhio e il pendolo (Jem CoheN a Pisa). Italia,1999.23’ 
- GIUSEPPE BARESI: Mnemo-diario. Viaggio nella lavorazione di Il mnemonista, film di Studio Azzurro. Italia, 2000. 40'

- BRUNO BIGONI: I sogni degli Elfi. Viaggio nella storia del teatro dell'Elfo. Italia, 2000. 45'

- LUCA SCARZELLA: Majakovskij, l'incidente è chiuso. Italia,1999. 16'

- GIACOMO VERDE: La mia pittura è dialettale. Italia, 2000.19'15"


- IRIT BATSRY: These are not my images. USA-Francia-Germania-Gran Bretagna, 2000. 80'

- JEM COHEN: Città d'ambra. Italia-USA, 1999. 47'
- ANGELA MELITOPOULOS: Passing Drama. Germania, 1999. 66'

- DOMINIQUE SMERSU: Sous silence. Francia, 1996. 20'

- ALEXANDER SOKUROV: Dolce. Russia, 1999. 61'

- GIANNI TOTI: Gramsciategui, ou le poesimistes. Francia, 1999. 55'

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INVIDEO is an AIACE's project supported by: Regione Lombardia - Direzione Generale Culture, Identità e Autonomie della Lombardia, dalla Provincia di Milano - Settore Cultura, dal Comune di Milano - Cultura e Musei - Settore Spettacolo, dalla Commissione Europea e dalla Fondazione Scuole Civiche di Milano, Scuola d'Arte Drammatica Paolo Grassi