The extensive efforts put on into organizing the Independent Film Show, undertaken since 2001 by Raffaella Morra and her cultural association E-M ARTS together with the Fondazione Morra, have once again resulted in a refined programs for this edition, featuring some films as premier in Italy, including 16mm films, videos, audio-visual creations, sounds and images that attest to the totally free creative genius of the filmmakers. The show is characterized by the power of flexible, unique artistic forms, far from the usual rules, making the audience an integral part of a creative process for three days. Between filmmakers and musicians’ performers, artists and curators interested in the media, loyal friends and film enthusiasts, among projectors and sophisticated audio equipment, Independent Film Show is a laborious and incessant investigation, continuously developed and updated, on how to see, perceive, examine, understand, and remember in a critical and unusual way.
From Thursday 11 September to Saturday 8 November 2025 at the Temporary Gallery opening at 7:30 pm
SPARKS OF BRIGHTNESS INDEPENDENT FILM SHOW
Photographs by BIAGIO IPPOLITO and Video documentations by ANDREA DE CUNZO LAMENDOLA
SPARKS OF BRIGHTNESS INDEPENDENT FILM SHOW, curated by Raffaella Morra and Loredana Troise, is a project designed to update the memories of the previous editions from 2001 to 2024. From an unusual and exclusive archive, a carefully selection of more than a thousand photographs by Biagio Ippolito: they are poetic shots made by adjusting the shutter speed to fractions of a second to capture a unique moment, the performer’s particular gestures while touching the film, the projectionist on the 16mm projectors, the colors of the sunset on Vesuvius. Single photos and sequences of several images involve the visitor in a process of deciphering and recognition; those who have participated in previous editions can activate their synapses and return to memories and sensations, those who have not been able to directly experience those emotions can relive them in the video documents by Andrea De Cunzo Lamendola. From 2012 to 2015, Andrea De Cunzo Lamendola with a determined but polite approach, camouflaged in the audience, filmed and then edited the expanded cinema performances by Karel Doing, Sally Golding, Les Nominoë, Katherine Liberovskaya and Phill Niblock, Lynn Loo & Guy Sherwin, Lionel Palun, Greg Pope and SULT, Gaëlle Rouard, Spatial (Matt Spendlove).
Thursday 11 September at 9:00pm RANDOM ACCESS MEMORY curated by RAFFAELLA MORRA
Sometimes a positive memory fades and the emotion is polluted by the volatility of its substance, altering its meaning. What is the procedure for transforming a memory into an indelible memory? Let’s try to apply a multisensory reflection that does not favor the purely visual and auditory experiences, to deeply redesign/engrave/transcribe experiences in the mind; a perceptive representation acquired through the senses and imprinted on the consciousness, rather than abandoning ourselves to fleeting impressions of vague sensations that take on abstract characteristics in our imagination, and when recalled to memory, simplify and conform to the conventional. Experimental film is an art of time closer to poetry and sound, in which the selection of languages used by the artist conveys the complexity of a creative thought and the way to convey it to someone who is available to receive and process it.
Friday 12 September at 9:00pm FLUXS curated by RAFFAELLA MORRA
Despite repeated declarations about the end of analog cinema, many experimental filmmakers, both young and established, continue to work with films. This material medium encourages a direct and practical approach to filmmaking, encouraging the experimentation and the development of creative inventions, something that happens less frequently in digital media. The films and videos selected for FLUXS program behave as a visual analogue of sound, sometimes adapting to the rules of musical composition, sometimes reproducing the sound in a related visual representation.
Friday 12 September at 10:00pm SHORT EXPERIMENTAL WORKS by OLIVIER PERRIQUET
This program presents a selection of five short experimental works by visual artist Olivier Perriquet, spanning over fifteen years. Created with digital means, the films are informed by the grammar and sensibility of analog experimental cinema. Each, in its own way, reduces cinematic language to its essentials, following a compositional logic inspired by musical thought, where the eye, at times, takes on the role of the ear.
PREPARED PROJECTOR Improvised performance for two instrumentalists
OLIVIER PERRIQUET 16mm films and projectors and QUENTIN CONRATE live music
The 16mm projector has been physically altered in the spirit of extended techniques in music. An analog film slowly scrolls in front of a microscopy camera. The image is produced live through direct manipulations of light and camera. Contact microphones capture the projector’s internal movements and vibrations for live amplification. The projector is staged with the performers.
With a special affinity for visual perception and optics and privileging a site-specific approach, Olivier Perriquet (Lille, 1974) has been practicing live cinema and installation for twenty years, often in collaboration with sound artists and musicians. Be it expanded cinema or video, installations and performances, his work frequently and implicitly refers to the scientific imagination and its language. Drawing on media archaeology, taking up Flusser’s idea of “playing against the apparatus”, he crosses disciplines until one can no longer distinguish which media produces which form, using noise, the emergence of form, recognition of a ground within a form, as means of access to the ineffable in human and nonhuman experience.
Mainly focused on improv, Quentin Conrate is a sound artist and drummer active in contemporary music, musical theater and different fields of experimental art. He developed a specific approach on the drum set by reducing its elements. He called this new setup “incomplete drum kit” which allows him to explore the possibilities of creating a new set of acoustic sounds with its technics. His works are often cross visual art and sound, dealing with space and movement.
Saturday 13 September at 9:00pm MESMERISM curated by RAFFAELLA MORRA
The term “mesmerism” (or animal magnetism) refers to the theory of man, and the resulting therapeutic practice, promoted by Franz Anton Mesmer in the last decades of the 18th century in Vienna and Paris. The entire reality, inanimate and living, is permeated by an invisible fluid whose harmonies and disharmonies determine the physical and mental health of each individual... (Contribution taken from History of European Civilization by Umberto Eco)
The program seeks to stimulate a sort of fusion between the work and the viewer, through the use of a vivid imagination, going beyond seeing and reasoning.
Saturday 13 September at 10:00pm FILM PROGRAM curated by Cellule d’Intervention METAMKINE
Jérôme Noetinger, Xavier Quérel, and Christophe Auger, the trio that make up Metamkine, have been intervening in the traditions of film and sound art for the past fifteen years. As active members of an art scene based in Grenoble, they have developed a truly improvisational and independent artistic life: controlling how they produce, exhibit, and disseminate their images and sound, and openly sharing their knowledge with other like-minded artists.
PERFORMANCE CINÉMA-MUSIQUE
CELLULE D’INTERVENTION METAMKINE
CHRISTOPHE AUGER and XAVIER QUÉREL 6x16mm film and projectors
JÉRÔME NOETINGER electroacoustic dispositive
Though film performance is a novel practice in itself, what further distinguishes Metamkine’s performance is that the three collaborators assume a band-like stance in front of the screen. They achieve this by aiming their multiple projectors towards the audience at two large-scale mirrors positioned to reflect the images back onto the screen. With audio interpretation of the events unfolding at centre stage and the image manipulation taking place before the audience, the conventions of classical stage set-up are contravened. Projectors normally relegated to a closed booth behind the audience now take the main stage, revealing the means of production in a structural strategy at the heart of Metamkine’s work.
