Controllo Remoto

Orthographe

Ponte Alto, Modena

16/10/2009 ,  18:30  
17/10/2009 ,  19:00  

written and directed Alessandro Panzavolta
sound design Lorenzo Senni
consultant to photography Cesare Fabbri
elettronica tecnica e scenografie Marco Amadori
software Michele Verità
technician on stage Marco Amadori, Angela Longo
production manager Alessandra Simeoni | Inteatro
producion Inteatro, Orthographe, Productiehuis Rotterdam / Rotterdamse Schouwburg
suppported by Emilia Romagna Teatro Fondazione

National première

Running time 40'

Orthographe consists of a group of four people from different artistic backgrounds who have been bound together by research conducted by Alessandro Panzavolta on the optical camera and his study of the laws and mechanisms that govern it. Their first work, Orthographe de la physionomie en mouvement, presented at the Venice Biennial in 2005, followed later by Tentativi di Volo, both entailed the use of an artificial set based on the optical effects of light and darkness produced by lenses, which placed the spectator in a camera obscura. Controllo remoto, on the other hand, takes another direction, and examines the effects on the imagination conjured by the subject of war. The result is a visual journey through war scenes, which begins from the first documentary photographs of the American Civil War. The images, which are shown in rhythmic, quasi-abstract succession, gradually seem to come to life via the process of anamorphosis produced by the fluttering motion of the screen onto which they are projected. The work, starting from the title itself, is an explicit reference to complex precision instruments, increasingly technologically complex ones, that make it possible to keep track of battlefields from afar. Their use has been refined over the years, from the time of the Great War to the present day, where we now have infrared night vision and virtually guided missile attacks ... via remote control, hence the name of the work. In the logistics of war the perception of space and the enemy is essentially reduced to a geometrical point of a trajectory, the physical destination of a bullet, a remote point, but one not invisible to arms or to the idea of war as a web and as the geometry of the visible.

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