Claudio Caldini

"Life is a latency that as time and space becomes visible as a figure. But never eat at all, there are other possible lives. Making a life is difficult, filming the impossible itself . with this imago-auto-bio-graphy is an attempt to talk about this ambiguity, where what could be is the possibility of a memory, where what was and what was not, can be remembered in the same way, . always I lived with mixing the imagined thing is chosen in this chancy; go left on the road the other films that might have emerged" -Narcisa Hirsch

Film of "El Clú del Claun", directed by Claudio Caldini, which opened the show "I'll make you pay for this...!", from 1987. Shot at the Centro Parakultural, Buenos Aires, Argentina.

The omnibus feature SUCESOS INTERVENIDOS consists of shorts by a who’s who of Argentine documentary and experimental-film giants, including Edgardo Cozarinsky and Gustavo Fontán but also Claudio Caldini, Andrés Di Tella and Gabriela Golder. Each one of them created a piece of a few minutes in length using archival footage from SUCESOS ARGENTINOS (“Argentine Events”), a popular newsreel series from 1938 to 1972 whose episodes have recently begun to be digitized by Buenos Aires’s “Pablo C. Ducrós Hicken” Film Museum.

Short film that shows daisies throughout the day with music as an accompaniment.

Fiction based on texts by Baudelaire, Sade, Lovecraft and Lautréamont.

A brief documentary focused on the history of experimental Super 8mm filmmaking. Prominent figures of the "s8" boom of the 1970s discuss their work and their first encounters with the medium.

Complete version in three parts. Reconstructed from VHS transfers of the original Super-8. Music and film by Claudio Caldini, 1988.

No description available.

When I first arrived in Barcelona in 1974 I decided to make a film about architect Antoni Gaudi's Park Guell. I found a film already conceived in the 1914 design; it was enough to follow the trajectories traced by Gaudi, imagine them as a labyrinth, reproduce the bursting of the mosaics through an analogous fracture of linear temporality. In the editing I tried to avoid showing passers-by. No human figure should get in the way of the appearance of that fantastic architecture. The stop-motion technique applied to the position and parameters of the camera still seems suitable for representing the undulating space of the park.

A child plays on the beach; we are in home-movie territory. For years I thought I had made a film-poem, without knowing how to explain it, until Gilles Deleuze created the concept of "perception-image": A character acts on the screen and it is assumed to see the world in a certain way. But simultaneously the camera sees him, and sees his world from another point of view which thinks, reflects, and transforms the viewpoint of the character [...]. In short, perception-image finds its status, as free indirect subjective, from the moment that it reflects its content in a camera-consiousness which has become autonomous ('cinema of poetry'). (Gilles Deleuze, Cinema I: The Movement-Image).

"indian ink on 16mm film" -CC

The life story of an artist. The fantasy of a poetic burial accompanied by friends of cinema.

In his second feature film, Leandro Listorti establishes a parallel between two worlds he seems to know well: that of plants and that of cinema. This delicate cinematographic work, full of beautiful images—both archival and current—gives an account of the immense work of classification and preservation, and generously invites us to think about forms of representation and memory.

Second collaboration with the composers Haro/Fiori. The images refer to the crisis of the representation of reality which emerges with the mass diffusion of electronic images on television and on video in the last decade of the 20th century. The piece also illustrates the discussion relevant at the time (1991-92), and still so today, on the replacement of experimental cinema with video art. The title alludes to a quote from Heinrich Rudolf Hertz, "The consequences of images will be images of consequences."

To film without looking trough the viewfinder; to emulate a tactile, subconscious vision. This was the intention of "A traves de las ruinas", made during the Falklands War (April-May 1982). The camera is a vacillating gaze that moves about in the darkness or is blinded by flickering. At the beginning, it delves into the sea, later it represents aerial bombardments through urban lights. Silhouettes of human figures appear that never manage to connect with each other. Scarcely lit places, photographed on the "threshold or exposure"; wintry, generalized interaction of spaces, distances and dynamics. A continual present made up of intuitions and imprecise memories.

"Rain is a thing that surely happens in the past" Borges

A Super 8 film by Claudio Caldini, focused on a progressive music festival

Branches, leaves, and flowers overlap and mingle. The film closes with a passage from philosopher Zhuang Zhou.

The filming of Ventana began as a test of the rewind and superimposition functions of the Single 8 camera: a crescendo of added layers. The space is a camera obscura in which the cameraman's movements convert a line of light into multidirectional rays. Toward the end there are up to eight unique superimpositions and single frames. The music was added in 1989, with an anaogue synthesizer and digital delay.

Digital edition of the original 1993 video-tape. Dedicated to Dr. Albert Hofmann and his famous bicycle trip.