Homage to Phill Niblock (1933-2024)

Omaggio a Phill Niblock (1933-2024)

A HOMAGE TO PHILL NIBLOCK (1933-2024)

ANNA CLEMENTI and KATHERINE LIBEROVSKAYA Zound Delta performance
DAVIDE AIDEN CAPOBIANCO PN90 (Phill Niblock in 90 notes and facts) performance
ASPEC(T) aka MARIO GABOLA and SEC_ WORK performance

PHILL NIBLOCK The Movement of People Working China 88 e Vlada BC videoprojection

Reload Claudio Catanese

Reload Claudio Catanese

Reload
Claudio Catanese

Museo Hermann Nitsch
vico lungo pontecorvo 29/d Napoli

Opening Wednesday 8 May 2024 from 6.00 pm

Special guests Sacha Ricci, Daniele Sepe, Rino Saggio, Mario Formisano, Mario Catanese, Moxedano

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Introduction 2004 Xavier Garcia Bardon

An experimental film does not regard cinema from its usages, but from its powers. It endeavours to evoke, to reveal and to renew them; but at the same time it contradicts, blocks and renders them limitless[1].

Introduction 2003 Thomas Draschan

The 3rd edition of the Naples Independent Film Show is one of the most interesting events in this field. For it's audience, filmmakers, curators and organisers. I do not intend this to be a competitive statement, (as there are many other extremely wonderful shows) - I simply want to underline the uniqueness and the beauty of this annual event.

Introduction 2005 Xavier Garcia Bardon

The Independent Film Show is devoted to the exhibition of experimental film. In a way, it is not surprising that this film festival is organized by an art gallery, as experimental film has certainly as much to do, or far more to do, with the plastic arts than it does with cinema, as conceived in its most classic and commonly accepted sense. It is film considered as an art form, and films considered as works of art. All throughout its history, experimental cinema has had many different abodes.

The infinite directions of film art

“…A truly creative work of art creates a new reality and itself constitutes an experience, in contrast to the merely descriptive effort which produces an existent reality or adventure. This distinction is particularly relevant to cinema, for the physical similarity between the lens and the eye has led to the use of the camera largely as a recording instrument. But in a human being it is the creative intelligence behind the eye which confers meaning upon that which the eye registers.

Introduction 2008 Raffaella Morra

The amount of attention paid to the moving images has actually increased over the past ten years, if that seems possible. This may be due to increased artistic production and the run of newly-created archives and databases. These latter are often ambiguous affairs, adding little to a clear understanding of the work or its historical and artistic context.

Introduction 2006 Katia Rossini

Today in Italy, events dedicated entirely to experimental cinema are rare. Over the last few years some festivals have integrated sections where experimental films and videos as well as time based art pieces are programmed, but the opportunity to have a whole festival devoted to the exploration of past and present-day practices in experimental cinema is quite unique.

Boundaries of Improbability

1. Dis-visual perceptions

The memory of the future

I can believe in anything, as long as it is incredible.
Oscar Wilde

Introduction 2007 Katia Rossini

Over the last decade we have witnessed an incredible resurgence of interest in experimental cinema. A new generation of artists has emerged. Museums, cinematheques and festivals now have programmes and retrospectives of past and contemporary experimental films, and film and video installations are now part of the art gallery experience.