Ballata dell’Ipocondria[...] A path for music and images suspended between narration and experimentation, technology and tribalism. “Ballad of hypochondria (or Vibrio in love)” primarily focuses on symbolic work on the color scheme, with choreography by Hilde Grella and Loguercio’s playback that works sometimes with melodeon player Alessandro D'Alessandro, while the other guest vocalists (including Peppe Servillo, Rocco Papaleo, Maria Pia De Vito) materialize in the form of photographic masks or "video cells" observed on a small monitor in this surreal laboratory by the dazzling scenery and vaguely kubrickian, with white-aseptic suits, including ampoules, microscopes and other improbable medical equipment, you try to isolate the love virus which has irreparably infected the musician (much to personally assume the likeness of vibrio) and could expand infecting the whole of humanity. (Bruno Di Marino, Squilibri 2016
The main backdrop against which Miserere is set is the industrial archeological landscape of Bagnoli, the port with the enormous cranes and hills dominated by the modern and aseptic silhouettes of the windmill blades. The characters that wander about this space that is as "lived in" and worn-out – where time, along with the salt from the air has become coagulated and crusty – as it is unreal and lunar are men and women in wheelchairs, who move in restlessness but not resignation. There is not just a sense of desolation around them but also an indefinite atmosphere of suspension and expectation, for something that will not happen. They are surrounded by the sea, wind, earth, (internal) fire, blood, suffering, as well as piss, hunger, saliva, the loathsomeness evoked in the lyrics of a slow dance, music, from the rhythm around which the entire video is constructed. Miserere is an apologia of silent desperation (none of these characters speaks) that is simultaneously screamed through an ancient, ancestral chant. The closing credits that give us these people's stories certify their authenticity, distinguishing them from actors and thus adding – along with the procession of Good Friday in Guardia Sanframondi, shot in grainy black and white – a "documentary-esque" value to the video, in which real suffering is transfigured with a skill that is visionary as well as dry and calibrated, making this one of the most intense and efficient works of the entire Matarazzo aesthetic. (...)
Bruno Di Marino (catalogue: 42. Mostra Internazionale del Nuovo Cinema, Fondazione Pesaro Nuovo Cinema Onlus ed., Roma 2006)
Festival Internazionale del Cinema Laceno d’Oro 2014 (sigla)
ITA below // Official theme video of the revived historic "Laceno d’Oro Film Festiva" . At first review, and then the neo-realist "Laceno d’Oro Film Festiva" was born in 1959 thanks to the faith in their dreams of two young intellectuals from Irpinia, Camillo Marino and Giovanni D'Onofrio, and the tutelary deity of Pier Paolo Pasolini.
Since that year until 1988, twenty-eight editions were followed and stopped only after the 1980 earthquake.
Renowned names in the world of journalism, film and literature: Pier Paolo Pasolini, Domenico Rea, Cesare Zavattini, Carlo Lizzani Marcello Gatti, Lina Wertmuller, Giuliano Montaldo, Luigi Zampa, Tinto Brass and other famous filmmakers and intellectuals took part of the Jury. Some future masters of world cinema (Antonioni, Pontecorvo, the Taviani brothers, Scola) before Venice and Cannes, obtained in Irpinia their first official recognition.
The Festival hosted cinema from around the world, but giving priority to those Eastern European countries and those in developing countries, thereby taking on an international dimension.
ITA below // Victor is a desk created for the sign collection of Adele-C (Adele Cassina) by Mario Airò. "Victor II" illustrates the genesis of the table in a sort of fetal development in which the light maple, legs and the shelves interact with a developing body.
Matarazzo is responsible for Adele-C’s “Victor” desk, created by artist Mario Airò. Victor is the re-elaboration of a project, also by Airò, entitled “Puccini at Ansedonia”: a table that alludes to a musician’s concentration and the mental spaces generated on a daily basis by the study and analysis of one’s hearing. Matarazzo immerses “Victor” in a contemporary rhythm, building a taut interplay between the object and a woman’s body: restlessness and experimentation animate the journey until the surprise of discovery.
Benedetta Di Loreto (adele-c.it/carosello_a-matarazzo.php)
First incursion in trade field with a video clip commissioned by Converse, do not become part of the selected spots on the siteconversegallery.com
Similarly Karma 1, presented at the 54° Venice Biennale, Pneuma analyzes the threshold between immobility and transformation, highlighting the slow mutation of an ancient olive tree, represented in the detail of the trunk as opposed to analog face an old farmer. The variety of forms of the bark of the olive is, perhaps more than any other plant species, a tree that is an almost instinctive anthropomorphic equivalence, in the face of a wrinkled old farmer. Organic forms of powerful symbolic value, absorbed into the relentless cycle of nature, where everything changes and nothing is destroyed.
La posa infinita
"La posa infinita" (The infinite pose) puts on stage, yet again, the gap between mobile/immobile that emerges from the interface of cinema/photography, under the appearance of an ancient group portrait where the immortalized characters reacquire life artificially through minimal movements and an ambient sound that give the image
crystallized in time, the feeling of something taking place “live”. An instant dilated to infinity represented by the waiting period before the snap. (...)
Bruno Di Marino (Milano Doc Festival 2007, Doc Fest ed., Roma 2007)
In just a few minutes and using the scarcest of traces "VeraZnunt", (The Rebirth, in Armenian), focuses on the atrocity of the Armenian Genocide, perpetrated between 1894-1896 and 1915-1916 by the Turks and Kurds and which saw the extermination of more than half of the entire population. At the start of the film, the text, written in Armenian, summarizing a few moments of the genocide and narrated by a voice off screen, runs across a photographic image that starts as a small point in the depths of the screen and grows steadily larger. The period photograph shows a group of men and boys, posing with formal stance and serious expressions. Blending with the intoned chant of an Armenian liturgy, the narrator’s voice tells of events which he himself witnessed and in which he took part. As the story comes to an end, the people in the photograph, now close-up, come to live with the help of computer graphics: a slight movement of the face here, a change of position there. The film ends with the image of new grass growing in a field at the end of winter: a symbol of hope and of rebirth for a people whose history has been neglected and forgotten.
Elena Marcheschi (19. Invideo 2009)
What do they share, apart from 'B', Beckett, Buster Keaton, Bene and Bergman? They all lead a wide-eyed actress to perceive their own view. The way they shift from physical to metaphysical appearance
Piera Degli Esposti actress
Rocco De Rosa music
80 KG. In Mortem Johann Fatzer
A dead man = 80 kg of meat, 4 buckets of water, 1 bag salt (Loosely based on “fatzer-fragment”, “Downfall of the Egotist Johann Fatzer” by Bertolt Brecht)
Ilario Pastore music
It has been several years since an earthquake devasted Irpinia, South Italy. Although a massive reconstruction, some places, here and there, like dead memories or museums in the open air, can still remind everybody of such a tragedy. The long-standing, quiet, spooky ruins seem to claim their own right to survive, warning strangers not to pass. But a funny guy with a briefcase and a clue, turns up, unexpected..
ITA below // Film immersed in black, including quotes from Beckett and comic strip movements, obsessive spaces and repeated images, the film is a journey (provocative, deliberately unpleasant, visually excessive) towards an ideal poetic of margins and an explosion of the visual, with a narrative pretext that gives a nod to crime movies. "Astrolìte" (2002) is above all a deep reflection of looks and perspectives to the disjointed worlds of film, television and motion pictures in general. To deform the gazes seems to be the principal will of the two directors. But also to reflect on the mythology of the television experience. More generally, the question of experimental video draws its power training by a strong desire of critical-expressive (but also introspective) and video-maker that makes the world in which they live, a world filtered through screens that are in the field a strong unconscious vacuum from which to draw the most diverse materials. A critical power, deconstructive, reflexive, then that is directed against the myths of social degeneration and simulacra. Detaching itself from reality, the video is presented as another reality, or rather tends to produce a reality parallel to that in which we live. But it is not surreal but a reality that lives in another dimension. It is a reality where it is vaporized and reduced to mere appearance. It is in this new-dimension where anything can happen when one moves, is metamorphosed, born and dies at the same time. (...)
Alfonso Amendola (catalogue: "Steack&Steel", International Printing Editore, AV 2005)
Enrico Ghezzi actor
Pasquale Innarella music
La Camera Chiara
The central theme of "La Camera Chiara" is exactly the look (a quote from Barthes ands this work: "I would like a history of looks"). This work also represents a return to his original idea of cinema-video. But this time he does it through the necessary amplification of the digital dimension. Matarazzo works in a very refined manner (even the selection of the soundtrack by Sigur Ròs is extremely elegant) when initially highlight apart of the photo, blocking it out and showing it to us almost as his idea of "punctum" and then gradually replacing it inside its original visual space. There is no novel, no dramaturgic trace, and not even a documentaristic desire. There is the composition of seeing, to beat the time of visual through the photographic representations, the mutability of the signs in a form of light, the stillness that indicates the extreme mobility of time, the extremely dense dynamics of the eyes. Like this if Matarazzo previously had worked on videos based upon meta-painting, meta-cinema, meta-television, now it's time for a reflexion upon the statutes of photography: in regards to the compositions of photography as a very profound design of the memory and as a refined example of wanting to rethink in our contemporary times the possible affections between technical developments and unconscious levels of setting in place. (...)
Alfonso Amendola (catalogue: Steack&Steel, International Printing Editore, AV 2005)