About women and technology

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2 Mostra de Vídeo Independent de Barcelona 1994.

"dead SEEquences" is a video composed of 3770 frames. Working frame by frame, we find that nothing happens inside each single image, but all pass between the frames, in the invisible gap that separe a frame by others. The film is here, but there isn't anything to see, the most important remain invisible and uncertain. There is no truth to discover. The truth is always elsewhere. This is a study about the vanishing of an image. It's the image of a naked body, the most tangible and real thing for a human being. Not a body, but the image of a body. In this gap operate the principle of disappearance: between the object and his image there is a distance, a limit, a separation; this is the functioning of language, the only way we know to relate with the world and the others. Between each word and his meaning we find this distance as an original sin, a gap where the world disappear to be speaked. To communicate, the world and the human being have to disappear. For this, the art have to become "uncommunicative" and "uncommunicable".

Starting from 50 reels of 8mm and super 8 film recovered in L'Aquila (Italy) and nearby villages after the earthquake of 6th April 2009 (many of them literally torn to rubble thanks to the courage of their owners), I tried to describe the disaster of earthquake to reach a general reflection about memory and its stratifications. In addition to private home movies, I used various audiovisual materials: footages from people with camcorders, cameras or cell phones during the moments and the days after the quake; pictures I shot in L'Aquila and surroundings; images from early cinema films. The differ(a)nce between the audiovisual sources is not only a technical detail, but it assumes an aesthetic and substantial value. It shows the passing of time on the individual and collective memory. The city becomes a metaphor of the fragility of memory.

Footage of the sea and audio recordings of a conversation in which a sinking refugee ship urgently asks for help from the coast guard, and is met by bureaucratic red tape in response .... until the final silence.

Out of the corner of the eye is the recording of a vision, sparked by the accounts of my grandfather, who lived in a small mountain village. The picking of blueberries and raspberries at dawn, in groups of people who kept in touch with songs and calls from one side of the valley to the other, made me think of a vastness of resounding sounds, filling the emptiness of space. I wanted to translate that soundscape into a video. The valley appears dotted with sparkles, glimmers that respond from one end to the other, from the bottom to the peaks. Thanks to the involvement of a group of more than twenty inhabitants of the valley, equipped with mirrors, I transformed a portion of the landscape into an expanded random choreography of presences amidst the woods, with coordination by radio.