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“Behind every experimental filmmaker lies a defence of the still unconquered liberty of the amateur—of the unpredictable, infinite twists and turns of an art form that is, when all is said and done, as varied as the people who engage it. In his own way—rigorous, attentive, sensitive, formal—Claudio Caldini has constructed one of the most lucid and committed defences of this last, unconquered and unexploitable cinematic territory, as a personal act in the face of an outside world in constant tumult.” – Pablo Marin
Claudio Caldini is one of the most important experimental filmmakers in Argentina. He began making films during the 1970s at a time of great political upheaval, yet he was able to work amongst a community of filmmakers like Narcisa Hirsch and Marielouise Allemann that formed a creative network of like-minded artists. That creative milieu became a touchstone for Argentina’s vibrant filmmaking scene, a scene that Caldini has continually influenced through his prolific filmmaking output and a legendary and long-standing Super 8 workshop series in Buenos Aires.
Caldini’s films, made and shown on Super 8 film, explore spiritual and philosophical quests through a practice that blends the act of seeing with the mechanical possibilities of the camera. They are lyrical masterpieces, transforming vision into lush studies of superimposition, blurred landscapes and inner mysticism. Caldini will present a short suite of super 8 films followed by a stunning three-projector performance exploring live colour manipulation of the cityscape. This is a rare chance to see the films projected, as the unique nature of Super 8 film prints require that Caldini travel with them.“Behind every experimental filmmaker lies a defence of the still unconquered liberty of the amateur—of the unpredictable, infinite twists and turns of an art form that is, when all is said and done, as varied as the people who engage it. In his own way—rigorous, attentive, sensitive, formal—Claudio Caldini has constructed one of the most lucid and commit …
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we don’t have much time uh because we
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have to turn over the room but um
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first off we should just explain the
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shots
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this is
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so that costco van is red
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it has green and it’s blue
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a little basil in the
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ancient
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systems of color photography from the
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beginning of the 20th century or
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the end of the
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18th century yeah
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so i’m going to just throw it out if
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there’s any questions from the audience
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anything that
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it’s striking
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what was the process for creating last
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town
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look star was
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very behind in
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my
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experiences taking care of that place
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in
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the
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in
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your three years and the
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the most interesting thing was that
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it was
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90 years that didn’t slow in buenos
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aires and i was making this film about
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the season the changes of seasons and
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the writtens of the light
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of that snow it is
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completely
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strange
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that landscape
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and then gamelan was made with the
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camera string
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the camera is a satellite
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satellite of myself is doing like this
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well
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at that time and michael snow is here i
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didn’t know nothing about the largest
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product
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yeah shot the first version of
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1976 and i lost
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the originals
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the credits say that it’s inspired by
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indian compositions that’s just the
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music
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it is not a direct relationship but
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i like the phonetics of that body
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somebody
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and
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it sounds
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you
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that
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were you burying film you were digging
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up film that you had buried or something
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you explained this
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well that was a
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performance we
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made with a friend of mine pablo marin
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uh i proposed him to
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a field
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and six months later we did the opposite
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process and
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it
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seems to me that was a good introduction
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for this film
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because i passed three
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or five years in that place taking care
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of the garden
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and then
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that was an impressive feeling
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do something with it
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very frequent questions ask questions
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all right welcome
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thank you
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you
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