What follows is a film-textsound declaration Morte all’orecchio di Van Gogh is the show by Bargellini a mixture of himself movie camera filmed material a repressed-sublimated impact. Un ottofilm di Pierfrancesco Bargellini in constructed with cine-material (made by B.) of the Van Gogh that remained a chrysalis for the period the space the time that passed in order to be reborn born I define I edit those sequences the result can be projected kills l’Orecchio freeing itselfsoaring into space. Oh I sing The rhythm outside the assumed recreates itself in the metamorphosis of speed like harmony yes! I traverse the screen-spacetime at 24fts oh I am moved, I (re)write fragments of material agony of unmade pornography of facts in images without light outside timememory they are the present the incapacity for love to love then body-mind atrophies the anesthesiaaaaaaaaaaaaa invades the ear but also the mouth hands Death outlet fusion result capolavoro of a past that was boringly dark during/in the composition recomposition of bioparentheses expressions expressions of a bourgeois culture… I-ME remains of wreckage a heap of repressions (a) sewer of prejudices KILLED in the Deathresuscitation by those who love me Van Gogh vomited one frame per hour by cosmiccommotion to be reborn purged Free able oh! love perception To be pulsing galvanized in the present continuous timespace- vibrations electrolysiswaves energy that expands fusion of magnetocolor-revealed perfumes notes of organibells oh the contact! the joy of BEING assumed love
oh! the marvel! it’s everything! free fall It happens that in space the quantity escapes the continuum to satisfy the evocation of the subliminal pleasures like an anticipation of commotion-joy suddenly the marvel of… … cosmic- quiet- dynamics. (P. Bargellini)
Pierfrancesco Bargellini (Arezzo, 1940-1982), also known as Piero, bought his first movie camera when he was 20 and pointed it at his youthful passions: competition cars and motorcycles. A few years later he met Marco Melani, who became his cinema companion and an actor in his films. He started to make a name for himself in the world of amateur filmmakers and won a prize at the festival of Montecatini. One of the members of the jury was Massimo Bagicalupo, a founder of the Cooperativa cinema indipendente, and he invited Bargellini to enter the brand-new world of Italian underground cinema. While working as an agronomist at the Val di Chiana Irrigation Office he continued to make films in his free time, but shortly afterwards, with the notice and support of the magazines “Cinema & Film” and the group “Filmstudio 70,” he left his job and moved to Rome. Here, during the early 1970s he worked occasionally for RAI and carried on his activity as an independent director in the world of underground cinema. During this period he suffered a series of misadventures with the law and ended up fleeing to Turkey with his wife Oriana and their daughter Rebecca in 1975. After returning to Italy he continued experimenting, jotting down his discoveries in a series of notebooks and fruitlessly trying to find financing for various projects for experimental programs for Rai. Bertolucci and Storaro consulted with him during preparation for La Luna (1981) to try to resolve problems with various special effects. But Bargellini progressively lost contact with the world of cinema and shortly thereafter his troubles with the law began. He was found dead, officially because of an overdose, at dawn on July 10, 1982.
Il teschio; La fiera dei sogni; L’incompiuta; Club 3P Battifolle (1965), Anno 2000 (1965), La striscia (1966), ...vi prego di accettare questo semplice bouquet di parentesi appena sbocciate ((())) (1966), Questo film è dedicato a David Riesman e si intitolerà «Capolavoro» (1967), Morte all’orecchio di Van Gogh (1968), Fractions of Temporary Periods I parte: Ovvero Plans- Séquences per una bambina (1965-1968), 360° di cinediario (1968), Tempo-Tempio-Ritratto (1968), Macrozoom (1968), Baraccone (1968), Water-Closet ovvero attesa per una defecazione (1968), Stricnina (1969- 1973), Fractions of temporary periods II parte: Due ore pomeridiane della bambina (1969), Trasferimento di modulazione (1969), Nelda (1969), Un ottofilm di Pierfrancesco Bargellini (1969), Zukie (1970), Gasoline (1970), Bacino Casa del lupo o di Tonino Massimo e Piero (1970, esiste solo in stato di frammento/only fragments), Oracolo (1970-1971, distrutto dall’autore nel 1974/destroy by the director in 1974), Erinnerung an die Zukunft (1970, non terminato/unfinished), Due silenzi e un’armonica (1971), Dove incominciano le gambe (1974)
Dispersi/Lost: Saluto (gennaio/January 1968, 8-16mm, 18fts, sonoro/sound, 3’30’’, bn/bw), Relazione filmata (1968-1970, 8mm, 24fts, sonoro/sound, 13’, col.); Abbandonate ogni illusione, preparatevi alla lotta (co-regia/co-director Marco Melani, Stefano Beccastrini, 1969, 16mm, 24fts, 40’, col.-bn/bw)