Events

‘Flow’, by Gints Zilbalodis.[1]

Above: a screenshot shared with ‘Flow’ (2024) by the young Latvian director Gints Zilbalodis. Oscar nominee as best international film and then awarded as best animated film at the 2025 Oscar awards, it has been made with a minimum budjet: the director, who is a co-producer of the film, also took care of the screenplay, of the photography,  of the soundtrack where the special sound of the marimba stands out.

Books to work on/ 7.

In the world of cinema the award ceremony of ‘Flow’ - a plain and immense film - played havoc, an innocent havoc: awarding is not victory, it is shared consensus by those who can express a formal judgement. Technically the film is not perfect, without any dialogue but sounds are perfectly localizable: and death – here of a brave friend, first helmsman in the storm – really is when one’s feet no longer rest on the ground, therefore even a choice.

With the powerful language of night dreams and lapsus which are able to become reality  - it escapes many who also have it available - this very prudent, little and not at all animal protagonist can use thinking and that principle, of pleasure and life, which only in an unstoppable solution with the other can move: and the formal residual that no one can forbid so remains staying afloat. Everything in fact revolves around the Nature of Life that here has nothing to do because it is the ability to stand on one’s own feet that is matched and introduces to the partnership – profit and benefit without duties – and it is the judgement to make partners of one’s peers that gives power : a biblical flood can make even the most wicked people meek, narrow-mindedness and perfidy receive support from the indifference of Nature – but it is not the damage that prompts the relationship, autocracy has short and deceptive ambitions, even in the abyss – it is incredible indeed – it consoles itself.

Awarding is not victory – we’ve mentioned – and, realistically, an ending is excluded, as naivety would claim instead : but a real advantage, even quantifiable, there is indeed. Rather a profit.

Marina Bilotta Membretti / Cernusco sul Naviglio – April 26, 2025

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[1] Gints Zilbalodis was born in 1994 in Riga (Latvia) where he graduated in 2014 in ‘Multimedia Design’ at the ‘Academy of Fine Arts’: his ‘Away’ (2019) was awarded at the ‘International Festival of animated film’ in Annecy.

Not with the usual words.

In the above photo: ‘Lunanzio. La vera storia’, by Loris Fabiani – Mondadori 2024

It is a stage at our level the one from which Alice and Loris expose themselves with a very probable but unidentifiable story. And they are so professional – Alice comes from the ‘Filodrammatici’ in Milan, Loris from the ‘Accademia Nazionale’ in Rome[2] - that are able to improvise without flaw with us spectators in the room. Loris doesn’t have a part : Alice is beautiful, elegant, good and can do it very well on her own. Why then together ?

The trick - we are surprised, because it is a crossroads – is in the cheerful arrogance of Alice, lighthearted and confident in a great great Someone who assures her of uninterrupted acclaim : and that’s how Loris takes on the part.

Starting from an amplified imagination that bores the unconscious but which the conscience welcomes and does not censure, the crisis can catch us : with all the predictable behaviours of a double Subject who obviously cannot fit, but that Alice knows how to bring back to the scene with credibility.

Then there’s a place for an ‘Incipit’ – and it is the real one, which is difficult for conscience : but which for everyone is the sun rising once more. Loris also drew it beautifully in black & white only, to begin his book not with the usual words.

Marina Bilotta Membretti / Cernusco sul Naviglio – November 24, 2024

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[1] ‘Alice & Loris’ at the ‘Teatro Elfo’ of Milan (October 15-20, 2024) : Alice is Alice Redini, Loris is Loris Fabiani.

[2] ‘Teatro Filodrammatici’, Via Filodrammatici in Milan, and the Accademia Nazionale d’Arte Drammatica ‘Salvo D’Amico’ in Rome : Alice and Loris bring technically to the scene a stand-up comedy (for them is a comedy-duo) with an interesting and unconventional message, which perhaps only this technique can offer.

A demanding customer.

In the above photograph : my purchase at the 9th ‘Festa del Libro e della Lettura – La Via dei Librai’, which took place in Palermo from April 23rd to 28th, 2024/ ‘Quaderni giapponesi – Un viaggio nell’impero dei segni’ di IgorT[1] (Oblomov edizioni 2023).

A child is a demanding customer : he, or she, agrees to study from a book purchased specifically for this purpose – and with some profit certainly. But when he - or she - decides to read must first have browsed, noted, compared, set aside.

And only then does he – or she - appropriate it.

Marina Bilotta Membretti, Cernusco sul Naviglio 28 ottobre 2024

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[1] Master of the graphic novel and illustrator, screenwriter, director, musician, Igor Tuveri – or Igort – is born in 1958 at Cagliari : he starts in Bologna, and he publishes already at the end of 1970s. His first solo album is released in 1980, published by Italian Records and entitled ‘Radetzky e gli isotopi’; now he is a regular collaborator of Linus, Frigidaire, Alter Alter, L’echo des Savanes, Vanity e The Face. In 1983 he is among the founders of Valvoline, a few years later he is in Paris with Metal Hurlant, among whose founders is Moebius. In the 90s he moves to Tokyo, where since 1991 he begins a collaboration with the publishing house Kodansha, which will last fifteen years. In 2000 he is co-founder with Carlo Barbieri of the publishing house Coconino Press. In 2002 he publishes ‘5 è il numero perfetto’, which in 2003 wins the award for the best book of the year at the ‘Bookfair’ of Frankfurt and which in 2019 becomes a movie starring – among others - Toni Servillo, Valeria Golino, Carlo Buccirosso, directed and dramatized by Igort : it is previewed at the Festival of Venice, and then presented at several other international Festivals. Again with ‘Coconino Press’ Igort publishes ‘Fats Waller’. Then the series ‘Baobab’ starts. In 2010 he already lived in Ukraine and in Russia, and with Mondadori he publishes ‘Quaderni ucraini’, to which ‘Quaderni russi’ follows and in 2014 ‘Quaderni giapponesi’. In 2017 he announces he is leaving ‘Coconino Press’ and so ‘Quaderni giapponesi’-vol.2 comes out for ‘Oblomov Edizioni’ : in 2018 he receives the audience award at the ‘Biografilm Festival’ of Bologna. Again in 2018 he is appointed director of Linus. In 2019 ‘Quaderni giapponesi’ are shown at the British Museum at the exhibition about ‘manga’ at care of Paul Gravett. In 2023 (May-September) the exhibition ‘Igort. Attraversare le forme’ is presented at Pisa, ‘Palazzo Blu’.

The silence of a passenger.

In the above photo, a passer-by or a passing inhabitant ? Taken from the exposition ‘Pratza ‘e domo. Una casa semiotica mai costruita’/ June 29 – November 3, 2024, Museo Nivola - Orani (NU).[1]

“This means :

• that there is indeed a benefit for a subject if you present yourself as a subject of benefit, when your ‘goods’, properties or talents as a matter of fact… are points of support for a contribution… by an Other…
• but that there is a condition for the benefit : that these talents are not relied upon by you as autonomous sources of claims in the encounter with the Other…”[2]

What is briefly suggested, and then walks away, remains more stable in one’s memory rather than what insists by giving weight – but your memory crumbles into crumbs. The silence of the passenger is a talent, or rather a legal silence.

Marina Bilotta Membretti / Cernusco sul Naviglio- October 10, 2024

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[1] Pratza ‘e domo (literally : ‘home square’) takes up the expression that in Sardinia indicates the space in front of a house, often equipped with a chair or a bench on which you can rest, a private but also public area. Nairy Baghramian created the exhibition following the awarding of the Nivola Prize for sculpture 2023, also showing works by other Artists : the author thinks of a readable, pleasant and welcoming home, for ongoing projects which elaborate the past but whose boundaries between institutional and social indicate tension and fragility. Organized by Giuliana Altea, Antonella Camarda, Luca Cheri.

[2] Cited from ‘Talento negativo’ - ‘Il pensiero di natura. Dalla psicoanalisi al pensiero giuridico’, Giacomo B. Contri SIC Edizioni 1998, p. 155.