Artists’ Film Italia Recovery Fund
STREAMING PROGRAMME
Available only from Italy
May 28 – June 11, 2020

In order to raise funds for the campaign Artists’ Film Italia Recovery Fund, Lo schermo dell’arte launches a three artists’ film streaming programme available exclusively on the new virtual theatre Più Compagnia by Fondazione Sistema Toscana and Regione Toscana.

Each screening will be followed by a conversation with the author.

It will only be possible to stream films from Italy.

By donating at least 5€ to the campaign Artists’ Film Italia Recovery Fund you will receive the code for a screening of your choice.

By donating at least €15 you will receive codes for all three screenings.

After having made the donation (within one hour from the starting time of the screening) you will receive via email the code ticket through which you will be able to access the virtual theatre.

Each real-time screening has a start and an end time. You can access the screening up to 15 minutes after the start time; the film will still start from the beginning.

Ticket codes will also be automatically sent to everyone who already donated to the campaign!

9:00 pm

Station to Station
by Doug Aitken, USA 2014, 71′
in collaboration with Wanted Cinema
After the screening there will be a conversation between the artist and the curator Leonardo Bigazzi

This first feature film by American artist Doug Aitken, Golden Lion at the Venice Biennale in 1999. The film follows a 4,000 mile journey, from New York to San Francisco, on a train designed as a “kinetic light sculpture”. 62 portraits, 1 minute each, recount the travel experience of a creative community, with happenings, impromptu concerts and site-specific interventions along the way. The film explores the infinite languages of contemporary creativity, and the very meaning of making art. Station to Station is a live project in continuous evolution that explores the various forms of creativity.

9:00 pm

Where is Rocky II?
by Pierre Bismuth, France, Germany, Belgium, Italy 2016, 93′
in collaboration with In Between Art Film and Vivo Film
After the screening there will be an interview with the author realised during the Italian premiere of the film at Lo schermo dell’arte Film Festival in 2016

A private investigator, an unobtainable work of art and a compelling story of film fiction form the plot of this film by genial French artist Pierre Bismuth. It begins with Bismuth’s discovery of a 1979 movie in which the American artist Ed Ruscha places an artificial rock he made, among the boulders of the Mojave Desert in California. Paraphrasing Stallone’s film, the sculptor called the piece Rocky II. Determined to find a fake rock that had lain concealed for almost forty years, Bismuth hires a private investigator, whose thorough search begins with the California art scene around Ruscha. At the same time, Bismuth involves two famous Hollywood writers in in his artistic-film project in order to write a screenplay for a movie. Where is Rocky II? interweaves documentary to fiction and explores the elusive relationship that exists in cinema between reality and its reconstruction.

9:00 pm

Looking for Oum Kulthum
by Shirin Neshat, Germany, Austria, Italy, Lebanon, Qatar 2017, 90′
in collaboration with In Between Art Film and Vivo Film
After the screening there will be a conversation between the artist and the curator Leonardo Bigazzi

Shirin Neshat returns, after her acclaimed film Women Without Men, to talk about the female condition and tell the story of Iran from women’s perspective.
Mitra, an Iranian director in exile, is working on her dream project: a film about the life of legendary Egyptian singer Oum Kulthum (1904-1975), whose music and extraordinary personality are still loved by millions of Muslims. But the more Mitra realizes the difficulties faced by the diva as a woman artist in a male-dominated society, the more her personal battle connects with the singer’s, bringing her to the brink of a crisis. In her work, Shirin Neshat has often explored stories about Muslim women, and artistic expression in the Islamic world. In this new work, built as a film within the film, which the Iranian artist worked on for over six years, Neshat overlaps her story with Oum’s, edits repertory photos with her own shots, and shows again the force of her gaze, which allows her to move from film to opera, from photography to installation.