The “scattered factory” expands. This journey recounts how, among abandoned buildings, mines transformed into tourist attractions, factories in Eastern Europe that have been reconverted to produce Italian cars, and the transformation of industrial cities and towns such as Sesto San Giovanni (the former Stalingrad of Italy) and Lumezzane (the “workshop” city of the Brescia area). The places, the images, the sounds. The director takes note and recounts by blending telephone calls, conferences, poems, old movies, commercials on Yugoslavian TV, Russian ballets, experimental performances. One sole flow that expands into multiple senses and directions. Just like a factory.
(Bari, 1982) conducts multidisciplinary research. He has exhibited his works in Italy and abroad, in solo and collective exhibits; published editorial projects; and participated at film festivals. He took part in the Italian Pavilion at the Architecture Biennale in Venice; and has collaborated with the Fondazione Giangiacomo Feltrinelli, “La Repubblica”, and MuFoCo. His first documentary, L’albero di trasmissione, was presented at the 2014 Festival dei popoli. His short films 32 dicembre, La guerra delle sgagliozze, and Litoranea San Giorgio-Torre a Mare, combined under the title Portrait of Bari, were presented in 2012 at the Cinemed Festival du Cinéma Meditérranéen in Montpellier.
Portrait of Bari (32 dicembre, La guerra delle sgagliozze e Litoranea San Giorgio-Torre a Mare, doc., 2012), L’albero di trasmissione (doc., 2014), Film (doc., 2020).
"Debordian and Fordist gears: performance and assembly lines, the assembly line that creates the performance photographic machine and through it the human mechanism of Marx slowly perfects itself through the breaking down of human movements and the possibility of thereby maximizing production times and rhythms (as Virgilio Tosi narrates in Il cinema prima del cinema). The “scattered factory” that encompasses everything and everyone, including me, compressed into the production and editing of the film. Perhaps the desperate shout of my poetry, which I recite as a rereading of Muybridge is shown in video through a photographic numerical rereading and rewriting, superimposed on tables of the friezes of the Parthenon... Perhaps that shout, with those images, is a good summary of Film.”