1999-2001: MONTAGE SERIES I + II

MONTAGE are two series (of four experimental videos each) starting on the one of fundamental stages of the audio-visual manipulation, the editing. It uses as leitmotifthe “fusion” between two geographical areas in the North and South hemispheres, the first and the third world: “the private eye in the place that I was born and the place where I live today”.  This series starts from the struggle of imaginary time and space and real time and space. It is on the editing that the dimension of moving image becomes pure and build up with film language that shapes the inner sense of a work. Film editing is not only order and put together rushes but is also a starting point for the research of new languages.

The various chapters of MONTAGE are experiments with the moving image making music with the image or imaging of the music. It started from Ejzenstejn vertical editing basics concepts to go beyond, where the “significance” becomes “signifying”, in a dimension of moving image gets purer and build up with film language that shapes the inner sense of a work and language research. The concepts of a cinematographygrammar mix themselves with memory, thoughts, using the traveller as a life metaphor, an attempt to filter a dialogue between digital and human expressions into the media.

The installation versions uses four video projectors and four video monitors that will project at the same time Montage 1,2,3,4 and Montage 5,6,7,8 causing an entropy-like ambient. The videos run in loop for approximately 265 minutes.


N. 1      flashback  2min. dez/1999

N. 2      quelli di sotto/aqueles embaixo/them from underneath 1min. 40 sec.  mar/2000

N. 3      blu/azul/blue 2min. 40 sec. mar/2000

N. 4      caput mundi 3min. 20 sec. abr/2000


MONTAGE 1 FLASHBACK. In this first chapter “flashback”, meaning a visual emission of the past in the present, the cinematographic significance of this term mix with the time space perception, memory  e travel. The observation point of view and its own subject: the city of São Paulo. The first seconds of the video are extracted from the film “Limite” (by Mario Peixoto, Brazil 1930): the film visibly damaged by the time flows in parallel with the subject view of a traveller. (super-8 original footage). The road that leaves to  Guarulhos International airport in São Paulo; sightseeing, vision e passages that overlap one each other among reality and memories, a simple editing device or the past’s evocation in a sort of déjàvù, suggesting, insinuating, inciting emotions, not affirming but detaining in a linear and schematic representation  of diverse time levels.  


MONTAGE 2 THEM FROM UNDERNEATH. In this second editing, writing, video composition exercise life is filtered through the monitor vertical lines. A  35mm film strip flows with fragments of other films in diverse formats (35mm, 16mm, S-8), but reproducing themselves they become just two-dimensional moving image composition. Without the movement illusion of the 24 frames per second, these fragments give birth to a new image composition. Black, white, yellow, mulattos, indigenous, pans of São Paulo, streets, places (S-8, original footage), and a series of other images shot between 1983 e 1986. Buildings in parallel to the film speed. 


MONTAGE 3 BLUE lies horizontally on the monitor in antithesis to the n.2. In this chapter the editing almost does not exist. Most of the sequence plans built the project structure. Blueis about moments lived rationally, but not completely lived because not lived inside. We take consciousness of our personal story only after when it has already finished.“Me arrependo só dos beijos que não dei” Fernando Pessoa.  Blue is also simple and day by day movement and moments perceived emotionally, translated rationally for every single event that happens in the video, as every word has a significance and our mental schemes filter and interpretate what we are experiencing. 


MONTAGE N.4   CAPUT MUNDI. As antithesis to flashback the n. 4 talks about the present but starting from the past, the origins, from classical history, primitive and of the city that the author lives: Rome, “the mythological capital of the western capitalism” (Glauber Rocha  Claro Italia-Francia 1975). In parallel editing we see the roman civilisation, a developed society and its architectonical  rests,  symbolising the empire’s triumph On the other hand S-8 images of the Indios Yanomani, from North Amazon, one of the latest tribes to be civilised and anthropologically one of the most underdeveloped civilisations of the globe.

Official Selection

I° ELECTRONIC ART INTERNATIONAL BIENNIAL. Palazzo delle Esposizioni, Rome, December 1999. MONTAGE N.1


CINEMA AND TV CRITICS PRIZE FESTIVAL,  “Castelli de Alta Marea Anconetana”, Italy July, 2000. 


IX VISIONARIA, INTERNATIONAL VIDEO COMPETITION -Video languages. Siena, 17-21st  October 2000. 

2nd  Arte Prize 2000 – videart. Rivista Arte – Galleria Giorgio Mondadori.  Milan, October 2000. 

VISIBILITÀ ZERO exhibition selection of author’s video, Vilnius,  November 2000. 

TRANSMEDIALE International Media Art Festival – surviving in a digital world. Berlin,  4-11stFebruary 2001. 

13° VIDEOBRASIL International Electronic Art Festival – in concours, São Paulo 19-23rd  September 2001

MICROWAVE INTERNATIONAL MEDIA ART FESTIVAL. Videoslam 1-3. Hong Kong 3-22nd  September 2001

5thINTERNATIONAL MEDIA ART FESTIVAL,Friesland, The Netherlands, 6-22ndSeptember 2001.

MORBEGNO VIDEO FESTIVAL,in competition, Italy,  September 2001

III GREENWICH FILM FESTIVAL – Visual inspirations, London, 11-21stOctober 2001

REGGIO FILM FESTIVAL – Mutations, Italy, 3-5thMay, 2002.


Special Mention IIILetojanni independent video festival. MONTAGE 1-4. Letojanni, Sicily 19-21 November 2000.

Best ShortfilmIV Cortocinema Shortfilm Festival, MONTAGE Rome 24-26 November 2000.

Best Photography Kodak prize IV Cortocinema Shortfilm FestivalMONTAGE N.3 Rome. November, 2000.

Finalist Competition Videoart Locarno 2000 Festival et forum International de la vidéo, des arts élétroniques et de la nouvelle culture émergente.  Locarno 2-12 august. Lugano 24-26 November. MONTAGE 1-4


Seeing comes first before words. The child looks and recognises before it can speak. 

MONTAGE (5,6,7,8) is the second part of a series of working in progress videos. It starts from the struggle of imaginary time and space and real time and space. It is on the editing that the dimension of moving image becomes pure and build up with film language that shapes the inner sense of a work. The struggle of concepts build up the narrative: alienation and redundant, technological and primitive, analogue and digital. Also in this second seriesthe author is particularly focused on the repetition, the loop and the multiple of images: in the beginning of this century almost used as an ideological weapon.

N. 5   xingu disco  3min. 47 sec.  Febbruary/2001

N. 6    altre strade/outras estradas/others roads4min. 06 sec.  March/2001

N. 7    cut a way  3min. 11 sec. April/2001

N. 8    piano sequenza 3min. 25 sec. April/2001


The Xingu river is one affluent of the Amazon river. It has about  2100 km and in its most inaccessible parts in the North it hides several forms of life, including indigenous tribes such asYanomani.  In this video we see S-8 images of  Yanomami rituals of dance. Paradoxically we heard is the music of Surya Lab “Traffic Buzz”. Surya Lab is a virtual band made by Matthew Mountford and Marco De Amicis. They operate in between London and Rome in night clubs and concerts. Some notes or beats of the music where linked to certain images. As long as the video proceeds more and more digitised they become. The syncretism of this ritual of dance becomes also a ritual of primitive and “civilised” of urban and jungle, of first or third world. The voices of the Yanomami and other voices are digitally distorted. The main chorus in the music has a clear icon as a image: an indigenous man looking at himself in a mirror. It is symbolically relevant because in the Brazilian colonisation (in the 1500’s) the Portuguese navigators use to make a good deal exchanging mirrors, combs, or other souvenirs with gold, silver and precious stones. Mirrors were particularly appreciated. Still today someone is looking at something else, when Amazon raining forest has been swept out of this world. The mirroring of the images that become more a sort of  repetition of itself. Through repetition  it comes to be assimilated. Just as human being apprenticeship.


In this sixth editing/video composition exercise life flows through the monitor vertical and horizontal strips. A 35mm film telecine of the streets and roads around Rome. Imitating life, we go around Rome in a virtual trip. Probably not only geographical. Images were first made to conjure up the appearances of something was absent. Gradually it became evident they could outlast what it represented. Later still the specific vision of the image-maker was also recognised as part of the record. An image become how X see Y. No kind of relic or text from the past offer such a direct testimony of the world. In this respect images are more than literature. OTHERS ROADS as a starting point of an common transportation vehicle wish to give its interpretation of seeing the same old day by day landscapes.


Time does not exist. What we call time is the movement of the evolution of the things. 

CUTAWAY in cinema terms means goes to another place. Changing scene. In this case wipes as cuts. Better no Cuts but two storiessimultaneously.  One is about a sort of a Italian XIX century family living in a public house in a London suburb (shot in Hi-8, London 1988). A kind of dreamy vision, a memory. The other is (Super-8 Rome images) a landscape view of monuments and relics of the ancient civilisation. The images diveided by wipes horizontally and vertically meet a balance in the middle of the border.


Shot in miniDV during a manifestation in Brazil against the current government policies. Piano sequenza or sequence planas antithesis to the other Montage or to the editing is a sequence without cuts. The image flows from the beginning to the end. The icon is symbolised by a man carrying an enormous card box. Probably his home.  The camera follow this man throughout a crowd in the middle of the Avenida Paulista, in the city of São Paulo. The piano music of Heitor Villa Lobos is melancholic that traduces the nature of the exitless –  homeless of our protagonist that are beautifully traduced in these Clarice Lispector verses:

Tem o peso da música / Tem o peso da palavra nunca dita / Viestes quem sabe a ser dita./  Tem o peso de uma lembrança / Tem o peso de uma saudade / Tem o peso de um olhar./ Pesa como pesa uma ausência / E a lágrima que não se chorou / Tem o imaterial peso de uma solidão no meio dos outros.1

1My soul has the weight of the light / It has the weight of the music / It has the weight of the word that I never said / Could who knows been said / It has the weight of a memory / It has the weight of homesickness / It has the weight of a glance./ It weights as an absence can weight / And a tear that has not been sweept / It has the immaterial weight of a loneliness among the others.