MARCH 2017 / ISSN: 2462-2885 / Color, 148 pp. / ENGLISH
SPECIAL ON ANGELA RICCI LUCCHI & YERVANT GIANIKIAN:
Yervant Gianikian and Angela Ricci Lucchi: Archive, Technology and Body, by Paula Arantzazu Ruiz
The work of Yervant Gianikian and Angela Ricci Lucchi is a cinema of catalogue, a cinema that displays previously archived images and shapes an enormous inventory of 20th history century. It has been more than forty years since these Italian filmmakers (Gianikian is of Armenian origin) have been recovering, re-filming and re-editing archived films by means of the analytical camera—a re-visualizing tool made ex profeso to manipulate film footage from different sources, either by cutting original frames, reversing images and revealing their negative, modifying speed or manipulating the montage. In this way, by discovering unusual associations among visual documents from different archives, Yervant Gianikian and Angela Ricci Lucchi create new films. The topics covered in their work are both diverse and recurrent: war, fascism, colonialism and racism, science, technological advancements and violence, as well as the links that surreptitiously connect one topic to another. Among them emerges the human body as a commonplace element of each and every one of these images: men and women whose faces and gestures take on a new breath in this visual re-cataloguing of the archive.
Our Analytical Camera, by Yervant Gianikian and Angela Ricci Lucchi
Pages of a Diary, by Angela Ricci Lucchi
A Letter to Angela and Yervant, by Atom Egoyan
Trying to locate my argument outside such rhetoric, what I wish to propose is not an alternative or further reading of Angela Ricci Lucchi and Yervant Gianikian’s artistic trajectory, but rather an attempt to imagine the philosophy innervating their work and to observe the gestures informed by it. From this point, my review of their films and video installations does not aim to provide a counter-description opposed to the several detailed accounts to which I am indebted, but to complement them by seeing these works as the crystallization of a specific way of conceiving time—a way that is apt to restitute the past, inhabit the present and look at the future. Their work employs a conception of temporality that transcends the diegesis, and which I believe cannot be solely described in terms of a feature typical of slow cinema. Conversely, I shall contend that this approach to temporality represents the most immediately recognizable—but at the same time, the densest aspect—of a very peculiar poetics that is merely the audio-visual output of a wider creative process and of a broader, personal and very concrete relationship with the world.
In traditional anthropological thinking, situating and relativizing are considered hallmarks of written representation. In this paper it shall be argued that it may also be a central quality of experimental filmmaking. It will be suggested that a new space for representation is created in the filmic composition via Gianikian and Ricci Lucchi’s aesthetic and analytical processing of archival material. Consequently, the term haptic détournement will be used to analyze postcolonial thinking in the experience of Diario Africano.
Monster Movie is an early example of the glitch process called datamoshing that involves the removal of data from digital videos compressed using the MPEG-1 format, resulting in characteristic smears of color and residues from the original image on screen.
The aim of this paper is to traverse certain texts by Farocki as well as those films dealing with the issue of World War II, especially through the images generated in concentration camps. Thus, a small sample of his entire filmic œuvre is selected here so as to ponder its contribution to the study of the image and the way it operates, while considering the role of archive footage when tackling the issue of WWII and the concentration camps that produced such images.