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Turbo Film As Artistic Apparatus and As Manifesto for the Uncertain Future of Moving Images

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Turbo Film As Artistic Apparatus and As Manifesto for the Uncertain Future of Moving Images University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2018 Turbo Film As Artistic Apparatus And As Manifesto For The Uncertain Future Of Moving Images Barbieri Marchi, Paololuca http://hdl.handle.net/10026.1/11958 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Turbo Film As Artistic Apparatus And As Manifesto For The Uncertain Future Of Moving Images by Paololuca Barbieri Marchi A thesis submitted to the University of Plymouth in partial fulfilment for the degree of: DOCTOR OF PHILOSOPHY School of Art, Design and Architecture June 2016 2 Copyright statement: This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. 3 Acknowledgements My supervisors’ unfaltering supports, as well as the constant dialogue and interdisciplinary exchange with fellow researchers, has been invaluable to the development of my research. My deep thanks go first to Antonio Caronia, my direct supervisor for most of the research. Semiotician, film theorist, mathematician, and radical indefatigable political activist, who passed away last year, leaving behind both a great void and the exceptional memories from his inspiring lectures and research contributions. All of my gratitude goes to Ph.D. Professor Francesco Monico, who offered me this opportunity and is the mastermind behind my enrollment in this program. A special thanks to all of my professors and colleagues who followed me through my research. Especially to: Pier Luigi Cappucci, Roy Ascott, Amos Bianchi, Denis Rojo aka Jaromil, Derik Dekerckove, Gabriela Galati, Regina Duerig, Massimiliano Viel, Sarah Ciriaci, Patrizia Moschella, Thomas Esaesser, Vera Alemani, Alterazioni Video art collective, Alberto Caffarelli, Andrea Masu, Giacomo Porfiri and Giovanni Trabucco. 4 Author’s Declaration At no time during the research for the degree of Doctor of Philosophy has the author been registered for any other University award without prior agreement of the Doctoral College Quality Sub-Committee. Work submitted for this research degree at the University of Plymouth has not formed part of any other degree either at the University of Plymouth or at another establishment. This study was financed with the aid of a studentship generously offered by the University of Plymouth and the M-Node directed by Professor Francesco Monico. Work submitted for this research degree at the University of Plymouth has not formed part of any other degree either at University of Plymouth or at any another establishment. Relevant seminars and conferences were regularly attended at which works such as papers, films and art installation were often presented. Word count of main body of thesis: 39228 Signed: ……………………………………. Date: 29 May 2018 5 Extras A. Lectures Turbo Film and The uncertain Future of Moving Images, NADA Present, New York, 2016; An Introduction to Alterazioni Video and Turb Films, Accademia di Belle Arti di Carrara, Carrara, 2016; An Introduction to Turbo Films, Accademia di Belle Arti di Milano, Milan 2016; Editing Turbo Films and New Cinematic Objects, NABA, Media Design and Multimedia Arts, Milano, 2016; Born Digital, Link Art Center, 2014; Reframing the Real, an introduction to Turbo Films, Rhode Island school of design, 2012; Paololuca Barbieri Marchi: Post Cinema: A Manifesto for TurboFilm, Naba University, Milano, 2012; Alterazioni Video, osservatorio Balcani, DOCVA, Documentation Center for Visual Art, Milano, 2012; The TurboFilm Manifesto, Department of Art and Art Professions, New York University, New York, 2012; The Influencers, Center of Contemporary Culture, Barcelona, 2008. B. Selected Screenings and Exhibitions: “Turbo Film – A Retrospective”, curated by Matteo Pavesi, Italian Cinema Foundation, Spazio Oberdan, Milan, 2016; “Ambaradan”, Les Rencontres internationales Film Festival, curated by Nathalie Hénon and Jean-François Rettig, Paris, 2016; “Ambaradan”, Cairo Video Festival, Video Art and Experimental Films, Cairo, 2016; “Breaking news”, curated by Elena Abbiatici, W MUSEUM, Iksan City, Jeonlabuk-Do, 2016; “GLITCH – Interferences between Art and Cinema in Italy”, curated by Davide Giannella, OCAT – Shanghai, 2016; 6 “GLITCH – Interferences between Art and Cinema in Italy”, curated by Davide Giannella, PAC Pavilion for Contemporary Art, Milan, 2016; “Symphony No.2” (performance), Hebbel Am Ufer, in collaboration with Ragnar Kjartansson, a Hamburger Bahnhof Museum, Berlin, 2015; “Symphony No.2” (film), in collaboration with Ragnar Kjartansson, Hamburger Bahnhof Museum, Berlin, 2015; “Ambaradan”, premiere screening, Byron Carlyle Theater, NADA art fair, Miami, 2014; “Freak Out!”, Greene Naftali Gallery, New York City, 2013; “The New Cinema Event – Part 4”, curated by Davide Giannella in collaboration with Ramiken Crucible Gallery, Suffolk Street Parking, New York City, 2013; “Fred”, BMW Guggenheim LAB, curated by Maria Nicanor, Berlin, 2012; “Hotel Milano”, Milano Film Festival, Milan, 2012; “Le President”, Enacting Populism, Kadist Foundation, Paris, 2012; “The New Cinema Event”, within “Moma PS1 Sunday Sessions” series, at at the MoMA PS1,Performance Dome, New York City, 2012; “The New Cinema Event – The Blind Barber”, Performa 2011, New York City, 2011; “Black Rain”, Milano Film Festival, Milan, 2011; “All My Friends Are Dead”, 21x21, Fondazione Sandretto Re Rebaudengo, curated by Francesco Bonami, Turin, 2010; “Per Troppo Amore”, 12th International Architecture Exhibition – People meet in Architecture” Italian Pavilion, Venice Biennale, curated by Luca Molinari, Venice, 2010: Incompiuto Siciliano, Shenhzen Biennale of Architecture, curated by Ou Ning and Beatrice Galilee, ShenHzen, 2012 “Cineambiente”, within Environmental Film Festival, curated by Maria Brunelli and Silvia Cirelli, Fondazione Sandretto Re Rebaudengo, Turin, 2010; “I Would Prefer Not To”, Solo Exhibition, Prometeo Gallery, Milan, 2009; “Artist Serial Killer”, Manifesta 7 – The European Biennial of Contemporary Arts, curated by Adam Budak, Trentino - South Tyrol, 2008; “Painting”, 52nd International Art Exhibition – “Think with the senses - Feel with the mind”, Venice Biennial, curated by Robert Storr, Venice, 2007; 7 C. Workshops: “Passenger in a Landscape”, Progettazione e organizzazione Cluster Theory, Basso Profilo, Dipartimento di Architettura di Ferrara, Ferrara, 2013 “Hotel Milano: Shooting a Turbo Film”, NABA University, Milano, 2012; “Milano e Oltre: creatività giovanile verso nuove ecologie urbane”, Connecting Cultures, Milan, 2012; “Gespräche mit Künstlerkollektiven”, Berliner Kunsthalle, Master Program Spatial Strategies - KHB, Berlin, 2011; “Lavazh Parti”, curated by Claudia Zanfi and Edi Muka, Italia Square, Tirana, 2011; “I would prefer not to – #2” , Skuc Gallery, Ljubljana, Slovenia 2011; “What if/ How to”, Libera Università di Bolzano, Bolzano, 2010; “Arte al Centro”, Cittadellarte – Fondazione Pistoletto, Biella, 2010; “Alterazioni Videos’ Radical Entertainment, Networked Culture in the Post Digital Age”, Center of Contemporary Culture of Barcellona, Barcellona, 2008; “Incompiuto Siciliano”, Hangar, Barcelona, 2008; D. Publications: “Turbo Film And The Uncertain Future Of Moving Images”, Fausto Lupetti Ed. (for Italian Cinema Foundation), Milan, 2016; “Make it Easy Make it Porn”, Gallery On The Move, Milan, 2012; “The Californization of the Planet”, LIMINA No. 2, M-Node, Naba Books – Laureate Education, Milan, 2012; “Thinking Media, Subversing Feeling, Scaffolding Knowledge: Art and Education in the Praxis of Transformation”, Naba University, Milan, 2010; “Mio Padre Ancora Non Lo Sa”, in Flash Art, Issue No. 304, July-September 2012; “Performative Practices”, in conversation with Alterazioni Video, 2013; “Painting”, in “Think With The Senses Feel With The Mind, Art In The Present”, Fondazione la Biennale di Venezia, Venice, 2007; “21x21, 21 artists for the 21st century”, published by Fondazione Sandretto Re Rebaudengo, Turin, 2010; 8 E. Selected Press: “Il video diventa film e mette il turbo”, in il Giornale dell’Arte, 2016; G. Grossini, “AlterazioniVideo, trasgressioni e performance”, in Corriere della Sera Milano, 15 February 2016; “Vandalismi Digitali”, in Film TV Magazine, 2016; “I Turbo Film del collettivo Alterazioni Video”, in Sky Arte, 17 February 2016; “Quando i Film mettono il Turbo”, in Vivimilano, 16 February 2016; “Metti una sera a improvvisare un Turbo Film”, in Il Giorno, 2016 S. Spaventa, “I Turbo Film”, in la Repubblica, 17 February 2016; S. Spaventa, “Il Mondo e’ un Turbo Film”, in Tutto Milano, 15 February 2016; G. Bria, “Alterazioni Video allo Spazio Oberdan di Milano: Un’avventura tra gli spaghetti western e il neorealismo di Youtube”, in Artribune, 17 February 2016; “Metti il Turbo all’Arte”, in Exibart, 2016 “Tra Ny, Berlino e Milano: i Turbo Film”, in Milanotoday, 2016 M. Arrigoni, “Cos’e’ un Turbo Film?”, in ATPDiary, 2016 “Turbini e Video”, in Artribune, 2016 N. Mazzoleni, “Be like water my friend”, Il Giornale delle Fondazioni, 2016; E. Bordignon,
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