TURBOFILM the BOOK
buy the book and get free access to all turbo films
In an era of post-cinema we’re allowed to ask ourselves which movie would we take with us on a deserted island, which title, among the debris and ruins of the twentieth century cinema, would you save from oblivion. The most respected movie charts, summed up by critics, would tend to lead us towards classics such as Welles, Ozu or Antonioni, condemning us to a challenging stay on our deserted island. As a well-rounded movie buff, I’d suggest an alternative route within the “non cinema” of the Avant-gardes, of each and every one of them.
I watched Entr’acte by René Clair dozens of times:
1) because in our archives we have different copies with different endings and inserts.
2) because it’s a movie that opens on Dadaism.
3) because it revolutions cinema made in the years prior to that and it is a compass for the years to come.
4) because it continues to amaze me and amuse me.
5) because it is short and it has a formidable score.
6) because there is the hocus pocus of cinema and a magician.
7) because the dead ends up resuscitating and makes everybody else vanish.
All the best Avant-garde survive their times and regenerate themselves. Misunderstood or underrated by their contemporaries, they overcome years and their detractors (the funeral ones). It happens to cinema, to literature and to art in general.
Publishing a book dedicated to Turbo Films is a Dada gesture, it means planning ahead on the history that will follow at least once. Alterazioni Video is pure avant-garde, at its most traditional level. Turbo Films are developed following an aesthetic manifesto – Marinetti did something along these lines, also with cinema. Furthermore, Turbo Films are a crossroads of cultural challenges, erudite references, as well as crap from the web. Their essence is spurious, crossbreed, transversal and also in this aspect they are close to Marcel Duchamp’s experimentations. Moreover, like great artists, Alterazioni Video are even performers, they work on their bodies, they perform live creating with their own bodies, they perform live producing a theatre of the absurd which contaminates music, image, gestuality and words. They are a rare distillation of how nowadays — in times of virtual profiles and “like”— one can be an experimenter of live languages using his own self as a palette. In conclusion, common trait to all the best avant-gardes, every gesture they perform, each sequence, is crossed by an aware self-irony.
Everything has already been said, everything is on the web, everything can be accessed.
The variance of Alterazioni Video is a few centimeters ahead from the abyss of banality: a space, nevertheless, sufficient to tell stories that are truly new.
The Fondazione Cineteca Italiana, whose institutional assignment is to preserve and value a cinema that beholds ideas and that is ageless, dedicates to Alterazioni Video a cinematographic retrospective at the Spazio Oberdan of Milano and celebrates them in this volume which synthesizes 5 years of their work. Let’s bend the rules and let’s not wait for these artists to pass away to commemorate them with a cinematographic homage: we want them alive, in the Cinematheque, and by doing this, we are, for once, a little futurist ourselves.
To close and return upon the deserted island, one last piece of advice. If you happen to find yourselves on a cruise (along with assuring yourselves about who the captain of the ship might be) pack this book in your suitcase; you won’t regret it if you ever happened to ship-wreck on a deserted island. Moreover, if there is signal, nowadays you’ll find signal even on deserted islands, watch their Turbo Films on the web: you will never go back. It was like this for us.
Pleasant journey to you all!
Director Fondazione Cineteca Italiana