Dario Agazzi

Franco Piavoli in his world.

A variation of 'Der Fan'.

No description available.

Curzio and Marzio are two picaroons who represent two sides of the same coin: the first one with moustaches, the second one with hats. Unknowingly dead, the picaroons meet in the first act and, after the introductions, they understand they are both looking for S. Alessio. At whatever time Curzio and Marzio appear, they change moustaches and hats. In the second act, the picaroons understand they are dead, and meeting S. Alessio they will discover he has their same face. A fanfare, instead of a funeral march, will end the work and their existence.

the po valley as place of the absurd. architectural stratifications and building failures. palms, urban voids, urban fullness and neon palms. pools built up in 5 days. neo-gothic villages reconstructed. the external meaning of this consumption is the same internal failure of its flesh puppets. words stolen by a recorder, in secret. the masquerade of reality as simulacrum of the truth, humans and their artifacts are put on stage.

A young girl is getting ready to welcome a client at her apartment.The man, transposition of Don Quixote, following a precise ritual, devotes himself to the maniacal cleaning of four rooms. The girl, personification of Dulcinea, eats, reads, paints her nails and smokes. She dress up and she get undress as if Don Quixote is not present there and as if there is no relationship between them. The client, following a pathological scheme, steals some girl’s objects, he puts them in a plastic bag and than inside a small briefcase. Sometimes the objects he fetishizes are destroyed like victims of maniacal bursts. This mechanism leads to the repetition of a celibate and solitary rite.

A circular urban symphony, flanked by the original music score "16/49 (rondeau) per organo sintetico 2014" by the composer dario agazzi. Using black and white super8 film, the directors intend to investigate the work of the architect Luigi Mattioni, a leading figure in the transformation of milan after world war II. Ridotto Mattioni approaches both architectural and musical elements in a recursive way, retracing the signs of change of a city that is defining its identity once again.