QUATTRO TEMPI is a simple work, with a strong emotional impact. An audio-visual panorama, realised through the simultaneous shooting of four digital cameras facing the four cardinal directions, and a quadraphonic score that alternates pure sound elements with a thinned out musical writing.
The four projectors give an “immersive” image of the place, putting the viewer in the center of the landscape: the quadraphonic sound does the rest, recreating (and reinterpreting) the acoustic experience. The artwork is easily accessible, even though developed on various layers. Although the image was shot after the real landscape and in real time, the sound was re-created and synchronized in studio, isolating some elements, eliminating and processing some others. Plus, a musical score was created, directly interacting with the ambient sound.
There are no human beings in the images: the human presence is just slightly suggested, summarizing in a presence-absence, both visually, through clues, and acoustically – through sporadic musical “dots”, representing the only authorial elements in a classical sense.
QUATTRO TEMPI is a series, from which TIRRENO INVERNALE is the first part. The pace of the premières will be seasonal, and the shootings will be done in the relative periods of the year. Each première will be, for an ethical choice, immediately subsequent to the shooting, in order to keep the moment of the “catch” as close as possible with the moment of the fruition.
QUATTRO TEMPI is nothing but the time, the real one, the one you need to waste in order to realize its flowing.
QUATTRO TEMPI is nothing but the movement, the one you need to stay still in order to notice it.
QUATTRO TEMPI is born after an idea of purity. The idea, that was tickling/obsessing Luigi Porto for years, has found a fertile ground in the sensibility of Gianluca Colitta, director and spiritual collaborator in this game of absence.
QUATTRO TEMPI first part: TIRRENO INVERNALE was realised between Rome and New York during February 2013.
The video was shot in Ostia, on February the 4th, 2013, at 12pm, by Gianluca Colitta with Eugenio Barzaghi as cinematographer. The location was discovered (and internalized) by Colitta and Porto during an inspection for the short film L'Inverno.
The 4-channel score provides an acoustically modified piano and a processed ambient sound.
The installation is developed by Massimo Palermo, drummer and electronic musician, trusted friend and long-time co-worker. He also developed the technical aspects of the performance using Max Jitter. TIRRENO INVERNALE is nothing but a movie with no “offscreen” – we can actually say that the “offscreen” is in the screen. For the rest it has, like all films, a camera crew, a post-production, small and diligent actors (cormorans) and a great special guest, the Sea.
USA/IT 2013 | 10' | col. | HD
a production by Luigi Porto and Gianluca Colitta | concept, music and sound Luigi Porto | direction by Gianluca Colitta | camera (col. HD) Eugenio Barzaghi | editing Paola D'Andrea | curator Massimo Palermo | preview 8-11 March 2013, Conservatorio "Stanislao Giacomantonio", Art of Sound - Sound of Art ed. 2013, Rende, Cosenza, Italy.
ERIKA DANST ROSAS DANST ROSAS
Video-performance by Erika Schipa, directed by Gianluca Colitta and realised for the thirty years anniversary of Rosas danst Rosas.
Shot on the roof of a building in the outskirts of Rome, the short film was shown from the 7th to the 10th October 2013 at the contest organised for the thirty years anniversary of Rosas danst Rosas at the Kaaitheater in Brussels, Belgium.
IT/BE 2013 | 4' | col. | HDV
Si sta come...
We are like... is a study on movement and at the same time a choreographic idea loosely based on Soldati by Giuseppe Ungaretti.
The soldiers' conditions of wait is the state of suspension that we live nowadays. We are like... was conceived from the need to use dance as a mean of expression of social and political conditions and, more general and existential, a condition of stillness.
We live waiting without an exact idea of the future, without even the hope of not only improving, but at least making progresses. The majority of us struggles with living in such a condition.
Therefore, “Si sta come/D'autunno/Sugli alberi/Le foglie” (“We are like/In Autumn/On the trees/The leaves”). Because, even if we're going somewhere, we're actually still; because, even if we try, we are always the same. Eternally hung, exposed to all winds, in an uncertain equilibrium that belongs to autumn leaves – it only takes a breath to make them fall.
In the long wait of a new birth, We are like...
IT 2014 | 12' | Performance Dance
a production Bitume PhotoFest | choreography and performance Erika Schipa | direction by Gianluca Colitta | preview 27 September 2014 Manifatture Knos, Lecce, Italy.
L'UOMO DEI QUADRI
video reading of “L'uomo dei quadri” (from “Cari mostri”, Feltrinelli, 2015)
IT 2015 | 29' | col. | HD
video reading of “Hansel@Gretel.com” (from “Cari mostri”, Feltrinelli, 2015)
IT 2015 | 21' | col. | HD
HOTEL DEL LAGO
video reading of “Hotel del lago” by Stefano Benni (from “Cari mostri”, Feltrinelli, 2015)
IT 2015 | 19' | col. | HD
a production by Stefano Benni | executive producer Viviana Dominici | scene concept and direction by Gianluca Colitta | camera Luca Silvagni | art director Ilaria Nomato | music Giulia Tagliavia | editing Riccardo Papa | sound design Luigi Porto | floor sound engineer Valerio Musiani | lighting engineer Fabrizio Cicero | camera operator Luca Silvagni | 1st assistant camera Thomas Giurato | key grip Daniele Diamanti | assistant art director Serena Agneti | camera intern Taieb Ksiksi | continuity intern Danila Giancipoli | cast Alice Redini.