The Notes of Anna Azzori / A Mirror that Travels through Time
With this Italian journey through time, Constanze Ruhm continues her variations of modern cinema´s female characters. In a dual essayistic movement, the artist researches the history of a film’s shooting and uses the found material for an imaginary transcription of a role. Following Godard´s Nana S., she now selects Anna, Roman Cinéma Vérité by Alberto Grifi and Massimo Sarchielli, which in the critical gesture of the 1970s, makes the gaze a political issue. Using the archive images and sounds as starting point, Gli appunti di Anna Azzori changes the perspective from which the truth content of the documentary-like staging can be gauged. At the same time, Ovid´s metamorphoses serve as a framework for fathoming the poetic transformational potential of the film´s characters, objects, and locations. Anna was created as a video, from an encounter with an underage, drug-addicted pregnant teen stranded on the Piazza Navona. The participant observers tried to reflexively include the found milieu, however not all of the contradictions could be offset. While Grifi´s montage stylizes a lighting technician who makes an unplanned appearance in front of the camera as an acting subject, Ruhm´s extractions from the editing leftovers highlight Anna´s resistance. The electronic disruptions figure in this as references to the medial transfer and as a marking of the voids. Gli appunti di Anna Azzori is a hijacking of shadowy black-and-white figures to the present. In the computer-game era, the round dance of Anna´s revenants again puts the gaze arrangements from back then to the test. The young actors who show up for the colorful casting form a post-feminist echo chamber in which the slogans of the second women´s movement linger: "... non abbiamo paura" we have no fear!
Gli appunti di Anna Azzori / Uno specchio che viaggia nel tempo
Austria, Germany, France