Figures du désir. Paolo Gioli et l'expérience du film

The essay analyses the cinematographic work of the artist Paolo Gioli, identifying a strong experimental nature. The archaeological character of his production, the aspects linked to anachronism, the intermediality of many of his works are observed by crossing different methodological horizons. In particular, the essay focuses on some of the artist's works, placing them within a tripartite hermeneutic horizon. These are three great idea-movements that involve the importance of early cinema - with acts that dynamize the pictorial aspect, and that complete the degrees of truthfulness of the photographic experience; the obsessional relationship with the reinvention of the device - with the modification of the camera, its use in a sort of machine primitivism; and, finally, Gioli's attraction to the initial idea of ​​action as a palingenetic locus, capable of a constant rebirth and regeneration of the filmic experience.