In collaboration with the Centre for Multispecies Relations and Future Ecologies, Nuova Orfeo presents: An evening of film by Elke Marhöfer

+ Nobody Knows, When it was Made and Why, 16mm, 10 min. 22 sec, UK, 2012

+ Shapeshifting, 16mm, 18 min. 26 sec, Japan 2015
(with Mikhail Lylov)

+ Becoming Extinct, 16mm, 23 min. 23 sec, Russia 2017

+ Soil Habitat Plants1 6mm, 11 min. 21sec, Japan 2017
(with Mikhail Lylov)

Elke Marhöfer investigates ecological practices that support human and nonhuman communities. Elke collaborates with dear friends and things and revises concepts of animals, vegetables and objects. She works with notions of self-admitted foreignness and radical othering. Linking, for example, the nonhuman with the postcolonial, she discusses how nature evokes situated testimonies of past and current events while simultaneously surpassing historical formatting, with its unique and machinic mode of constantly mutating into something new. She tests nonhuman perspectives, translating a technology like the camera from a human cultural and technical device into an environmentally intensive force. In this way, the camera becomes a tool principally undifferentiated from nonhuman animal tools and filming becomes akin to orangutans using leaves to make squeaky kiss noises.

Born in the year of the goat and in the month of the scorpion Elke Marhöfer, is an artist based in Berlin and Sicily.

Institutions of the Anthropocene is a research project by Ginevra Lodovici that unfolded across two sites in Turin — the former zoo in Parco Michelotti and the Botanical Garden — examining the legacy of institutions created to order, display and classify living beings. By walking through these sites, listening to their silences and reading their archives, the project asked how they continue to shape the way we look at other species, and what counter-narratives might be activated today.

The exhibition presented the research process and public programme developed in Turin in 2025 through archival materials, sound recordings, images and traces of the three interventions that marked its different stages. Marta Bogdańska’s workshop Sound Stories from the Former Zoo, in collaboration with composer Flavio Michele, explored Parco Michelotti as a sonic archive of escapes, resistance and multispecies narratives. The workshop Exotic is a Verb: The Colonial Grammar of Plants by Aterraterra (Luca Cinquemani and Fabio Aranzulla) moved through the Botanical Garden, questioning the categories used to define plants — exotic, native, naturalised — and revealing the colonial framework underlying botanical terminology. The performance Post-zoo (cognition of the living) by Viola Lo Moro and Flavio Michele inhabited the Big Cat House of Turin’s former zoo, weaving together voice, poetry and electro acoustic sound to reimagine the site as a field of tension between captivity and imagination.

The publication Institutions of the Anthropocene brings together the curatorial essay, accounts of the interventions, texts by the participating artists, working notes and archival materials produced during the research, with graphic design by MariaTeresa Daniele.

Followed by a Q and A between Ginevra Ludovici, and Elke Marhöfer

Food and drinks by Aterraterra

In collaboration with the Centre for Multispecies Relations and Future Ecologies, Nuova Orfeo presents: An evening of film by Elke Marhöfer

+ Nobody Knows, When it was Made and Why, 16mm, 10 min. 22 sec, UK, 2012

+ Shapeshifting, 16mm, 18 min. 26 sec, Japan 2015
(with Mikhail Lylov)

+ Becoming Extinct, 16mm, 23 min. 23 sec, Russia 2017

+ Soil Habitat Plants1 6mm, 11 min. 21sec, Japan 2017
(with Mikhail Lylov)

Elke Marhöfer investigates ecological practices that support human and nonhuman communities. Elke collaborates with dear friends and things and revises concepts of animals, vegetables and objects. She works with notions of self-admitted foreignness and radical othering. Linking, for example, the nonhuman with the postcolonial, she discusses how nature evokes situated testimonies of past and current events while simultaneously surpassing historical formatting, with its unique and machinic mode of constantly mutating into something new. She tests nonhuman perspectives, translating a technology like the camera from a human cultural and technical device into an environmentally intensive force. In this way, the camera becomes a tool principally undifferentiated from nonhuman animal tools and filming becomes akin to orangutans using leaves to make squeaky kiss noises.

Born in the year of the goat and in the month of the scorpion Elke Marhöfer, is an artist based in Berlin and Sicily.

Institutions of the Anthropocene is a research project by Ginevra Lodovici that unfolded across two sites in Turin — the former zoo in Parco Michelotti and the Botanical Garden — examining the legacy of institutions created to order, display and classify living beings. By walking through these sites, listening to their silences and reading their archives, the project asked how they continue to shape the way we look at other species, and what counter-narratives might be activated today.

The exhibition presented the research process and public programme developed in Turin in 2025 through archival materials, sound recordings, images and traces of the three interventions that marked its different stages. Marta Bogdańska’s workshop Sound Stories from the Former Zoo, in collaboration with composer Flavio Michele, explored Parco Michelotti as a sonic archive of escapes, resistance and multispecies narratives. The workshop Exotic is a Verb: The Colonial Grammar of Plants by Aterraterra (Luca Cinquemani and Fabio Aranzulla) moved through the Botanical Garden, questioning the categories used to define plants — exotic, native, naturalised — and revealing the colonial framework underlying botanical terminology. The performance Post-zoo (cognition of the living) by Viola Lo Moro and Flavio Michele inhabited the Big Cat House of Turin’s former zoo, weaving together voice, poetry and electro acoustic sound to reimagine the site as a field of tension between captivity and imagination.

The publication Institutions of the Anthropocene brings together the curatorial essay, accounts of the interventions, texts by the participating artists, working notes and archival materials produced during the research, with graphic design by MariaTeresa Daniele.

Followed by a Q and A between Ginevra Ludovici, and Elke Marhöfer

Food and drinks by Aterraterra

In collaboration with the Refusals and Practices of Freedom, a self-organized feminist residency and summer school, (14-16 May at Studio Claire Fontaine).

Cinema Rouge et Noir

6.30pm
Tickets €4

Followed by a conversation between the director Pratibha Parmar and Yaniya Lee

SARI RED (1988, 12') is a video poem and a poetical memorial to the death of of Kalbinder Kaur Hayre, a young Indian woman killed in 1985 in a racist attack in England. The video makes a break with the ‘master codes’ of cinema by using culturally specific signs and symbols to create a mise-en-scene of this loss and bereavement.

A Place of Rage (1991, 54'), is one of Pratibha Parmar’s most celebrated works and brings together Angela Davis, June Jordan, Trinh T. Minh-ha and Alice Walker in a powerful meditation on political and artistic solidarities forged across feminist, anti-racist, and decolonial struggles. Within the context of civil rights, black power, lesbian and gay rights and the global feminist movement, this formidable quartet of women assesses how black feminist thinking revolutionized American society, and the world generally, at the time.

Pratibha Parmar is was born in Nairobi, Kenya and grew up in London. Her films have been broadcast on television, exhibited at international film festivals, and shown in gallery spaces around the world. Pratibha is Writer/Director/Producer of over 16 documentaries and the author and editor of several ground breaking books notably, “The Empire Strikes Back: Race and Racism in 1970s Britain.” She has collaborated on and made films with with legendary figures from the global feminist movement including Alice Walker, Angela Davis, June Jordan and Andrea Dworkin. Parmar was a Visiting Artist at Stanford University and taught film as an Associate Professor at the California College of the Arts, for many years.

Yaniya Lee is the author of Selected Writing on Black Canadian Art (2024, figure ground/Art Metropole) and Buseje Bailey: Reasons Why We Have to Disappear Every Once in a While, A Black Art History Project (2024, Artexte). Among the projects she has developed are the Black Canadian Art History Scholarship Database (blackartstudy.ca) and Doing the Work: Selected Syllabi (greyzonepedagogies.com). She has published in numerous journals and magazines including: Canadian Art Review, C Magazine, Flash Art, Montez Press, and Asia Art Archive and In 2020 she co-edited a special issue of Canadian Art magazine on black artists and black art histories.

All films subtitled into Italian. The conversation will be in English.

Directed by Sara Driver, 1981 (United States). Starring Suzanne Fletcher, Melody Schneider, Bea Boyle

Vini d’Oro

Reading at 5pm
Film at 7pm

A legendary, once-lost landmark of American underground cinema, Sara Driver’s first film was rediscovered in 2008 and has since taken its place as one of the key works of the No Wave filmmaking movement. Based on a story by Paul Bowles, YOU ARE NOT I takes the form of a fugue-state trance as it follows the journey of a disturbed woman (Suzanne Fletcher) who has escaped from an asylum and whose fractured mental state is reflected in the very form of the film.

The film is based on a 1948 short story by Paul Bowles, written right after the American author expatriated to Tangier. After first reading the story in 1979, Driver was, she says, “shocked and dumbfounded” and inspired to make a film of it to complete her master’s degree at NYU’s School of the Arts (renamed Tisch School of the Arts just one year later). “I did not want to interpret the story,” she has said, explaining her film’s insistent obliqueness. “I wanted to be like the reader. I wanted to keep it very true, much like the first moment when I read the story and was stunned by it.” Without securing the rights to Bowles’s story, she went ahead with the project, writing a 12-page screenplay adaptation. Accompanied by a circle of NYU film compadres, Driver filmed on location in rural New Jersey, near where she grew up, with a 16mm camera and a Nagra sound recorder. Her crew included Jim Jarmusch, working as cinematographer; Tom DiCillo as assistant camera; and Nan Goldin as still photographer.

This screening will be preceeded by a collective reading centered around the feminine gothic inspired by Clara Schulmann’s upcoming publication – Moursures. We will read texts by Anne Carson, Shulamith Firestone and Mina Harker.

The texts are mainly in Italian and English with a bit of French. Please email nuovaorfeo@gmail.com if you want to participate in the reading. Places are limited.

Clara Schulmann has been working as a contemporary art critic for over fifteen years. Her writing relates meetings, exchanges and collaborations with artists. She has taught art theory in a number of universities, including the Paris Beaux-arts. Films d’artistes, Histoires de l’art, was published in 2014 by Les Presses du réel. Her latest publication is Zizanies (Paraguay Press, 2020), a first-person narrative dedicated to women's voices.

Sara Driver (1956, USA) is an independent filmmaker who was part of the creative wave in downtown Manhattan from the late 70s to the 90s. With a bachelor’s degree in Theater and Classical Languages and a Master’s Degree in Fine Arts from the University of New york, where she taught directing, Driver rose in the cinema world when she produced two of Jim Jarmusch’s films, Permanent Vacation (1980) and Stranger Than Paradise (1984), in which she starred as well. In 1981, she directed her first film, You Are Not I , based on a short story by Paul Bowles, which earned plenty of praise and was consi dered one of the best films of the 80s by the Cahiers du Cinéma. She directed two other feature films, Sleepwalk (1986) and When Pigs Fly (1993), with presence and awards in several film festivals.

Film Still: You Are Not I, Sara Driver, 1981

A Sunday morning screening curated and introduced by Elena Gorfinkel with films by Cecilia Mangini, Gunvor Nelson, Utako Koguchi and Tania Dinis

Cinema Rouge et Noir, 11am

Grandma’s Grammar is a programme dedicated to the figure of the grandmother, tracing her appearance in historical and contemporary cinema as a paradigm for alternative modes of storytelling. The grandmother is often present in feminist non-fiction film’s narrative of self-articulation and social structuration, even when occupying the background or resting in a corner, just out of frame. In this sense, the feminist impulse to navigate a history beyond the self has often turned to the grandmother as both ancestral figure and fount of historicity, as well as a medium of perception and a living disposition of continuation.

Programme:

Maria e i Giorni / Cecilia Mangini / 1960 / Italy / 10’ / Digital / Italian spoken, English subtitles

Cecilia Mangini’s ode to the woman she considered her godmother, Maria di Capriati, is narrated with a declaratively poetic assertion of her existential and social station in life. Capriati – an unmarried peasant who had many children out of wedlock and continued to work the land and oversee workers on a farm estate in rural Apulia – figures both a refusal to accept inutility in later life, “I’m still here, I’m still useful,” and the labours, exhaustions, and folk rituals of a province outside the onset of modernization and the reach of the “economic miracle.” Faithful to the charismatic force of Maria’s presence and the concreteness of her days and habits, Mangini bestows her maternal mentor with the potency of an irreducible, flinty alterity.

Red Shift / Gunvor Nelson / 1984 / Sweden / 50’ / 16mm / English and Swedish spoken

Oscillating between extreme proximity and distance, Red Shift is a film of domestic interiors, tactile details, and mutable intergenerational dynamics. Nelson, daughter Oona, and Oona’s grandmother, Carin Grundel, appear playing family roles. Two other actors represent a “past” of mother-daughter relations. They are tethered in a relay of extreme closeups and long shots: hands grasping and tending, creased flesh, polished silver, windowed views, resonant shards of time and memory, ritual and habit. Along with gnomic proverbs and snatches of banter, Edith Kramer is heard reading excerpts from over two decades of Calamity Jane’s late 19th century letters of regret to an estranged daughter. “The years have slipped by…” In a multivalent work of generational transmission, Jane’s lamentations yoke motherhood’s psychic freight to a vaster temporal horizon.

The Sleeping Flower / Utako Koguchi / 1991 / Japan / 7’ / 16mm / Japanese spoken, Italian subtitles

The Sleeping Flower is a diaphanous film that balances Koguchi’s quotidian conversation with her grandmother about meals and routines, as she goes about the work of dailiness, with a hauntingly playful phantasmagorical funereal performance, a fictive burial. “Close your eyes grandma. Close your eyes please,” granddaughter requests. White paper flowers fall from above, burying grandmother in a snowy blanket of ethereal tissue, encased in a gauzy cocoon. “Am I dying?… I just wonder why I live so long.” The grandmother’s visage blooms open from slumber, eyes fluttering open.

NAO SAO FAVAS, SAO FEIJOCAS / Tania Dinis / 2013 / Portugal / 10’ / Digital / Portuguese spoken

Tania Dinis’ dappled super 8mm observational sketch of her grandmother tending to her garden, planting, gathering, and feeding chickens and rabbits, is dynamized by a voice track of Esmeralda de Jesus’s reactions to her filmed likeness in dialogue with Dinis. Grandmother quips back at her own image, moving between confirmation as she asserts that burn marks are “cooks’ medals,” and dissension, “what the hell kind of idea is this?” Seeing herself through granddaughters’ eyes, in that collision between self and image, Esmeralda affirms her primacy with biting wit, but also equanimity.

Grandma’s Grammar was originally curated by Elena Gorfinkel in occasion of Open City Documentary Film Festival London, April 2024.

Revised, expanded extract from Elena Gorfinkel, “Cinema of the Grandmother,” in E. Balsom and H. Peleg eds. Feminist Worldmaking and the Moving Image. MIT Press, 2022.

Elena Gorfinkel is a film scholar and critic based in London. She is the author/editor of five books, most recently Wanda (Bloomsbury/BFI Film Classics, 2025); and The Prop, with John David Rhodes (Fordham, 2025). Her research concerns marginal and independent cinemas, including adult, experimental, & underground film, particularly from the 1960s to the present. She is Reader in Film Studies at King's College London. Prior to King's, she was Associate Professor of Art History & Film Studies at the University of Wisconsin-Milwaukee. She earned a PhD in Cinema Studies from New York University.

Film still: The Sleeping Flower (1991), Utako Koguchi

Guillaume Cailleau and Ben Russell's Direct Action

212 mins / 2024 / French, Moroccan, Arabic, English spoken / Italian subtitles

Cinema Rouge et Noir
6.30–10.30pm

Tickets 4€

With an introduction by Bianca Bozzeda

Direct action is a strategy of protest that refers to when activists use immediate, non-mediated and hands-on methods to achieve a goal, such as public demonstrations and strikes. For DIRECT ACTION, (CINÉMA DU RÉEL GRAND PRIX 2024 and BERLINALE ENCOUTERS WINNER 2024) filmmakers Ben Russell and Guillaume Cailleau spent two years following a militant activist community known as ZAD, based in Notre-Dame-des-Landes, France. Made up of squatters, anarchists and farmers, ZAD – which translates as 'Zone of Defence' – come together to occupy land and block development projects, working towards a broader revolutionary vision of living in a way that addresses the climate crisis. Composed of forty-one long takes and filmed over the course of two years, DIRECT ACTION takes the time to quietly assemble a powerful portrait of the movement, and the people involved through images of communal living, collective farming and eating.

Ben Russell—filmmaker, artist, curator—challenges conventions of documentary representation from within to produce intense, hypnotic, and, at times, hallucinating experiences. His curatorial work follows his filmmaking, which unfolds between experimental cinema and a form of speculative ethnography; he calls it 'psychedelic ethnography.' He is currently in residency at Villa Medici, Rome.

Guillaume Cailleau lives and works as an artist in Berlin and locates himself artistically at the intersection of film installation, performance and sound art, which he likes to combine in expansive installations. Cailleau observes where it is politically and socially disruptive: an animal testing lab, a banknote printing plant, or a military uniform factory. Using various media techniques, he works his material to abstraction. At the same time, he captures the research process in the material, shifting the levels of meaning. The forms of his installations then relate directly to their subjects.

This event is supported by Goethe-Institut Palermo.

A film program from the Marinella Pirelli archive co-curated by Nuova Orfeo and Lucia Aspesi.

The next chapter of the Italo–Feminisms series is dedicated to the artist and filmmaker Marinella Pirelli (1925–2009, Verona), a crucial figure in Italian post-war art, who left behind a unique body of work, including painting, drawing, moving image, light environments and experimental cinema. She was directly involved in politics of her time especially in feminist groups and she was particularly close to feminist theorist Carla Lonzi and the artists Carla Accardi, Jannis Kounellis, Luciano Fabro, Bruno Munari. Trained as a painter, Pirelli approached cinema in the 1950s, exploring new ways of representing light through the use of the camera. Her evocative films are based on a balance between colors and abstract forms that emerge both from a meditation on luminous phenomena and from a refraction of light, alternating with an intimate reflection on women's subjectivity. Like many experimental filmmakers and artists, Marinella Pirelli began as an amateur, seeking to free her personal artistic vision and to promote an interest in new technologies. Many of her experimental films—particularly the earlier ones—capture a moment of transition in the arts, absorbed by the artist and channeled into other disciplines such as painting, drawing, literature, and poetry, in a search for new techniques. These 16mm explorations were kept in a dark basement for over forty years and have only recently been exhibited.

The screenings will be followed by a conversation between curators Lucia Aspesi and Giulia Colletti.

Lucia Aspesi has been working closely with the Marinella Pirelli Archive for over a decade and has co-curated a retrospective together with Iolanda Ratti at the Museo del Novecento in Milan in 2019, titled “Luce Movimento. Il cinema sperimentale di Marinella Pirelli.” She is currently a curator at Pirelli HangarBicocca, where she has co-curated exhibitions by Trisha Baga, Dineo Seshee Bopape, Chiara Camoni, Sheela Gowda, Thao Nguyen Phan, Daniel Steegmann Mangrané, and Nari Ward. She recently curated exhibitions by Tarek Atoui and Nan Goldin and presented a solo exhibition by Ben Rivers at the Triennale Milano (2017). Since 2020, she has been teaching Curatorial Studies at NABA – Nuova Accademia di Belle Arti. She has contributed to numerous publications and catalogues and regularly gives lectures on the relationship between curatorial practice and the moving image.

Giulia Colletti is a curator and art historian. Her research traces the emergence of mega-structural landscapes shaped by mining territories and computational systems. Informed by cosmotechnics in Southern/Southeastern Europe and East Asia, she examines the reverberations of technological epistemic regimes. Engaging with artists who probe extractive paradigms, the erosion of living matter, and speculative futures, her work explores how biosphere-technosphere entanglements reshape modes of world-making. She is the co-curator of the 5th Industrial Art Biennial, supported by the 13th Italian Council. In 2025, she is Research Fellow at the National Museum of Modern and Contemporary Art, Korea – MMCA, and at the National Taiwan Museum of Fine Arts – NTMoFA. From 2019 to 2025, she served as Curator of Programs and Digital at Castello di Rivoli Museo d’Arte Contemporanea.

Programme:

Narciso, film esperienza (10’, 1966-67)

Bruciare (4’, 1971)

Appropriazione, a propria azione, azione propria – Sole in mano (6’, 1973)

Lago, Soggettivo-Oggettivo (14’, 1965)

_______

7pm, Ai vini d'oro, P.za Francesco Nascè, 11, Palermo

Free entrance

Nuova Orfeo goes to Rupert! Nuova Orfeo has been invited to give a talk and host a screening at Rupert, a center for art, residencies and education located in Vilnius, Lithuania, on the occasion of their new space opening.

On this occasion Nuovo Orfeo will present themselves alongside the works Errore di gruppo (1973) by by Karma Film, featuring the italian poet Patrizia Vicinelli, and We Had the Experience but Missed the Meaning (2014) by Laida Lertxundi: two films from different Nuova Orfeo’s programming strands as well as contexts and times, yet linked by a poetics of voice and image that challenges narration and opens up a space for new forms of experience and meaning.

Errore di Gruppo (1973), produced by Karma Film, a collective founded by Elio Rumma, Mario Gianni, and Patrizia Vicinelli—follows the poet Patrizia Vicinelli through a procession in the streets of Lourdes, interwoven with private footage. The words are by Vicinelli herself, drawn from her poetic explorations of those years. This work was presented in Palermo last November as part of In Viaggio con Patrizia, an event dedicated to the poet Patrizia Vicinelli and co-curated by Lisa Andreani within her project ALBERTO GRIFI: CORPO COLLETTIVO. The event formed the latest chapter of Italo–feminisms, a Nuova Orfeo series that revisits female figures of 1970s Italian avant-garde cinema. Working closely with archives, the series reintroduces these materials into contemporary discourse through conversations, readings, and publishing.

In We Had the Experience but Missed the Meaning, between Los Angeles and San Diego, California, a moment in a story by Bioy Casares finds a man who prefers driving to making love to Veronica. Crossing desert and sea, screen and page, we pass over that which cannot be said, only shown. Laida Lertxundi is an Spanish artist and filmmaker based in Paris whose practice, which she calls Landscape Plus, explores the parallels between landscape and the body through collaborative, improvised gestures and a deconstruction of traditional film hierarchies.

An evening with Ana Vaz in collaboration with Institut Français, Palermo

Institut Français Terrace
Cantieri Culturali alla Zisa
8:00pm - 11:00 pm

Programme

É Noite na América (It is Night in America), 2022, 66 minutes
Ana Vaz describes É Noite na América as an eco-horror tale, freely inspired by A Cosmopolitics of Animals by Brazilian philosopher Juliana Fausto. Filmed in Brasília—a city whose construction justified the violent displacement of both wildlife and Indigenous populations—the film’s postcolonial ecocritique resonates with a poetic reflection on cinematic vision. From the artificial creation of darkness through the day-for-night technique, to the use of expired 16mm film, this immersive tale casts an animal spell across eco-horror, environmental cinema, and documentary, subverting the boundaries of cinematic genres.

Apiyemiyekî? 2019, 27 minutes
Apiyemiyekî? is a short film that explores the excavation of collective memory, confronting the ghosts of colonialism through an archive of over 3,000 drawings made during a literacy project with the Waimiri-Atroari people, native to the Brazilian Amazon. Originally created as a means of exchanging knowledge about local flora and fauna, the drawings became powerful representations of colonial violence—graphic testimonies of trauma. Vaz brings them to life cinematically, superimposing them onto the Amazonian landscape, juxtaposing the natural flow of the river with the brutality of the colonial road, and interrogating the archive itself: Apiyemiyekî? means “Why?”.

Ana Vaz (1986, Brazil) is an artist and filmmaker born in the Brazilian Midwest, inhabited by the ghosts buried by its modernist capital: Brasília. Her filmography provokes and questions cinema as an art of the (in)visible and an instrument capable of dehumanizing the human, expanding connections with other-than-human or spectral forms of life. As a consequence or expansion of her cinematography, her artistic activities are also embodied by writing, critical pedagogy, installations and collective walks.

Her films have screened at numerous festivals and museums including Locarno Film Festival, Berlinale Forum Expanded, New York Film Festival, CPH:DOX, TIFF Wavelengths, and Cinéma du Réel, Tate Modern, Palais de Tokyo, among many others. She has recently had solo exhibtions at Secession in Vienna, Jue de Paume, Batalha Centro de Cinema Praça da Batalh, Porto and Lux London . She has also participated in numberous notable group shows including Penumbra, Fondazione In Between art and film. She is a 2025 fellow at Villa Medici, Rome.

Ana will be joined for a conversation after the screening by Alessandro Gallicchio.

Alessandro Gallicchio (1986, Italy) is a lecturer in contemporary art history at Sorbonne University, a member of the Centre André Chastel and a research associate at CETOBaC. With a PhD in art history from the universities of Florence, Paris-Sorbonne and Bonn (2016), he pursues his research following the methodologies developed by the social and political history of art. He is interested in the influences of nationalism and anti-Semitism in the construction of artistic discourse, and in the relationship between art, architecture and urban space in the Balkans and the Mediterranean. In 2021, he was awarded the André Chastel grant from Villa Medici for a research project entitled The Albania Pavilion at the Prima Mostra Triennale delle Terre d’Oltremare in Naples (1940). Traces of a fascist “coloniality” device.

Screenings O.V. with italian subtitiles.

This is a free event.

We had the experience but missed the meaning. An evening withLaida Lertxundi in collaboration with Instituto Cervantes, Palermo.

Cinema Rouge et Noir
18:30 - 21:00

Combining conceptual rigor with sensual pleasure in a process she calls Landscape Plus, Lertxundi's films establish parallels between landscape and the body as centers of pleasure and experience. Her practice is collaborative in nature, aiming to actively deconstruct the hierarchies of a traditional film shoot through the free exchange of roles both behind and in front of the camera, and the staging of improvised gestures and spontaneous, collective activities in various natural environments. Lertxundi’s work is invested in landscape as both an artistic tradition and a particular set of regional characteristics, idioms and inhabitants — from the deserts of California to the dramatic mountains of her native Basque Country

The screening will be followed by a Q & A between Laida Lertxundi and Gonzalo De Pedro Amatria

Laida Lertxundi is an artist living and working in Paris. Her work has been exhibited at the High Line Art, New York (2023), Whitney Biennial, New York, (2012), Hammer Museum (2026), Biennale de Lyon (2013), Frieze Projects New York (2014) and in museums and galleries such as MoMA in New York (2022, 2017), Tate Modern, London (2016), Whitechapel Gallery, London (2015), ARKO Art Center, Seoul (2022), ICA, London (2013), Museo de Arte Moderno de Medellín , Colombia (2015), CCCB (2017, 2013, 2021, 20122), PS1 MoMA (2013), and Kunstverein Hamburg  (2014) .Her films have been screened at numerous festivals such as Locarno, New York Film Festival, International Film Festival Rotterdam, London Film Festival, BFI, TIFF Toronto, Gijón, San Sebastián or Edinburgh among others. Lertxundi received a MFA from the California Institute of the Arts and a BFA from Bard College. She is currently a Professor at École Nationale Supérieure des Beaux-Arts de Lyon.

Gonzalo de Pedro Amatria (Pamplona, 1978) is a film programmer and university lecturer. He has been an associate professor at the Carlos III University of Madrid, and has published essays on filmmakers such as Hong Sangsoo, Ross McElwee, Jem Cohen and Werner Herzog. His programming experience includes working as programmer and programming coordinator at the Punto de Vista Festival in Pamplona until 2014, and curating film cycles for festivals and art centres such as the Film Society of Lincoln Center, FIDMarseille or Museo Reina Sofía, among others. He was a member of the selection committee of the Locarno Film Festival from 2014 to 2018, and associate programmer of Filmoteca Española and the Valdivia International Film Festival. Between 2018 and 2021 he was artistic director of Cineteca Madrid (Matadero Madrid)

Programme

We Had the Experience but Missed the Meaning, 2014, 8 min, 16mm
Autoficción, 2020, 14min, 35mm
Inner outer space, 2021, 16min, 35mm,
In a Nearby Field, 16min, 35mm, color, sound, 2023

Tickets €4, students free

The Blind Owl (1992, 84' – USA) Written and directed by Reza Abdoh. Produced by Adam Soch. With Peter Jacobs, Tom Pearl, Tony Torn, Juliana Francis, Tom Fitzpatrick, Paulina Sahagun-Macias.

Cinema Rouge et Noir, Palermo

18.30-20.30

Introduced by Krist Gruijthuijsen and Adam Soch

A polymath and self-described member of “a TV generation,” pioneering Iranian-American theater artist Reza Abdoh voraciously incorporated varied references to music videos, variety shows, film, dance, classical texts, BDSM, and more into his work, with equal parts poetry and rigor. Moving images played an essential role in the artist’s large-scale, interdisciplinary productions beginning in the mid-1980s. In his final working years he also turned to the cinematic form; his second feature remained unfinished at the time of his 1995 death from AIDS-related complications

Filmed in parallel with his raging, maximalist stage production Bogeyman (and including many of the same actors), Reza Abdoh’s sole feature film demonstrates an aesthetic vision distinct from his onstage work. Robert Bresson’s 1959 film Pickpocket is prominent among the influences on The Blind Owl, as much for its radically slowed-down cinematography and detached treatment of plot as for its overlapping themes of obsession, transgression, and eroticism. Abdoh’s film loosely follows a group of characters whose activities—among them caregiver, mortician, and prostitute—exist within a disorienting amalgam of illness, companionship, abuse, family, death, and sex. The intertwining narrative threads build a poetic, if ambivalent, study, in which the sorting out of identity and desire coexists with stagnation and mortality. While the film contrasts with Abdoh’s theatrical style, music remains as a marker of rhythm (and the use of Spanish-language songs also reflects the Los Angeles surroundings). The Blind Owl fits into a tradition of independent cinema rooted in 1980s performance culture, and is exemplary of the shift from analog film to video. Auspicious and unique in Abdoh’s body of work, the film poignantly points to an accomplished filmography that might have been (Moma).

Krist Gruijthuijsen was director of KW Institute for Contemporary Art from 2016 - 2023, where in collaboration with Bidoun Magazine, he curated a major retrospective of Reza Abdoh's work.

Adam Soch was Reza Abdoh's producer and the two collaborated frequently, with Soch designing projections for The Hip-Hop Waltz of Eurydice, Bogeyman, The Law of Remains, Tight Right White, and Quotations from a Ruined City. Soch is author of the 2015 documentary: Reza Abdoh, Theatre Visionary

Tickets €4, Free for students

Thanks to Negar Azimi and Bidoun

A evening of film and poetry orbiting around the work of Patrizia Vicinelli, with readings by Allison Grimaldi Donahue, Tiziana La Melia and Murmur

Co curated by Nuova Orfeo and Lisa Andreani

Patrizia Vicinelli was a prolific poet and a key figure of the italian avant-garde. Her poetic output - from sound and concrete poetry to epic poems - was largely published in magazines and in the form of multiples and editions. She collaborated with mutiple artists and writers from the neo-avant guard from Emilio Villa and Aldo Braibanti to Gruppo 63 and also, worked closely with central figures from the italian experimental cinema scene, both in font of and behind camera, making films on 16mm with Alberto Grifi, Gianni Castagnoli and Mario Gianni.

'In viaggio con Patrizia' explores Vicinelli's filmic output - in particular her relationship to Alberto Grifi - as well as her connection to a new generation of Italian poets: Allison Grimaldi Donahue, (Bologna / U.S.A) Tiziana La Melia (Palermo / Vancouver) and Murmur (Catania / Milano). The programme includes In viaggio con Patrizia (1965) Grifi's love diary, composed of long pauses, written with and for Patrizia (his partner throughout the 1960s) and Errore di gruppo (1973) by Karma Film (Mario Gianni, Elio Rumma, Patrizia Vicinelli) which stars Vicinelli as its protgaonist mysteriously wandering through the city of Lourdes as well as readings and performances by Grimaldi Donahue, La Melia and Murmur.

Allison Grimaldi Donahue(1984, Middletown, Connecticut USA) works in text and performance exploring modes in which language and text can move between individual and collective experience. Her work ranges from translation, particularly of feminist experimental authors like Carla Lonzi (Self-portrait, Divided 2021) and Tomaso Binga (in Euforia, Lenz Press 2024) to the creation of poetry performances that include song and printed matter such as in a 2023 performance called  with the authority of suddenness: listening for voices centered around the work of Giuni Russo at Kunsthalle Bern. She lives in Bologna

Tiziana La Melia (b. 1982, Palermo, IT), raised on an orchard-garden on Syilx territories, and living as a guest on the unceded territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səl̓ílwətaʔɬ peoples.  Their writing and art practice gleans the detritus of the everyday and transmutes it into material textures, and iterative shapes and symbols, which move through layers of diasporic time. Tiziana’s work has taken shape in a wide array of forms from painting, books, collaborations, installation, sculpture, collage, and moving image.

Murmur is a contemporary poetry collective founded by Maria Luce Cacciaguerra (Palermo 1997) and Greta Sugar (Milan, 1998). It was established in Milan in the winter of 2022 with the idea of reviving tpoetic art through connection. Murmur gathers the words, sounds, and visual explorations of artists, thinkers, and anyone who holds poetry dear.

The project is realized in collaboration with Associazione Culturale Alberto Grifi and supported by "Lazio Contemporaneo 2022” promoted by Regione Lazio.

An evening in collaboration with Claire Fontaine and Jun Kebab. Dedicated to the victims of the genocide perpetuated by the Israeli government. Food and drinks provided by Jun Kebab, AI Quds, Studio Terra and Planeta wines.

The srceening will be followed by a Q & A between Kamal Aljafari, Beatrice Gibson and Claire Fontaine.

Studio Claire Fontaine 17:00 til late.

All proceeds from this screening will go towards Medicalaid Palestine e Lebanese Red Cross.

Vinyl copies of Aid for Gaza by Hardcore Unlimited Records (Torino) and freshly printed copies of The Gaza Reader Vol 1. Poetry ed. by Artists Against Apartheid, Bidoun, WAWOG and the Kamel Lazaar Foundation will be also available.

Deep thanks to Rosalind Nashishibi, Kamal Aljafari Federico Chiari Diego Marcon, Negar Azimi and Tiffany Malakooti

Dahiet Al Bareed, District of the Post Office (2002, 7')
Hreash House (2004, 20')
Electrical Gaza (2015, 17’)
by Rosalind Nashishibi

British Palestinian artist Rosalind Nashishibi's three Palestinian films were made over the last twenty years and include Dahiet Al Bareed, District of the Post Office, Hreash House and Electrical Gaza. Dahiet Al Bareed, District of the Post Office documents a Gazan suburb built originally for the Palestinian Post Office but reality time a no-man’s land between Ramallah and East Jerusalem. A game of football is played and rubbish burns whilst the daily goings on of the barbershop – Sweet Love Saloon for Men plays out in front of the camera. The adhan, or call to prayer is heard amidst a landscape of decay and degradation. Hreash House filmed inside a Nazareth home, documents day in the life of one Palestinian family preparing and then eating a Ramadan feast. The family is expansive and lives collectively. Electrical Gaza was filmed in the months preceding the Israeli operation 'Protective Edge’ that bombarded the Gaza strip between July and August of 2014. Gaza is shown as a place from myth: isolated, suspended in time, difficult to access and electrically charged. An image of life in Gaza emerges counter to the mediated images of rubble and destruction, one in which we see a community managing to operate against unimaginable odds.

A Fidai film
by Kamal Aljafari (2024, 78')

Composed of archival fragments, A Fidai Film reconstructs the visual memory of Palestine, reclaiming images that were plundered from the Palestine Research Centre in Beirut in 1982. During Israel’s 1982 invasion of Lebanon, the Israseli Defence Force looted the archive of the Palestinian Research Centre, taking thousands of documents with them back to Israel. These included both still and moving images, that formed an integral part of the visual memory of Palestine. The stolen materials were then used by Israel to create a narrative aimed at bolstering the Occupation. As openly referenced by the title (Fidai refers to the figure of the freedom fighter), A FIDAI FILM is an act of resistance that re-appropriates those images in an attempt to reanimate Palestine’s vanishing history. Aljafari broadens our perspective on the Occupation by bending time: material shot decades earlier grimly resembles the daily contemporary images broadcast from Gaza. Restoring the images to their original meaning, stripping away words and Aljafari reveals the intimidating propaganda work that goes hand in hand with military occupation.

Rosalind Nashashibi is a British-Palestinian filmmaker and painter. She studied painting at Sheffield Hallam University before completing a Master of Fine Art at the Glasgow School of Art in 2000. She lives and works in London. Her work in moving image, using 16 mm film, explores subconscious and inner responses to moments and events, often addressing the politics surrounding communal relations and notions of an expanded family. In 2017, Nashashibi was shortlisted for the Turner Prize. Her work has been featured in numberous exhibitions including 'Documenta 14' (2017), 'Sharjah 'Biennial 10' (2011), 'Manifesta 7' (2008) and she represented Scotland in the 2007 'Venice Biennale'. Nashishibi was the first woman to win the Beck’s Futures prize in 2003. Recent solo exhibitions include Secession, Vienna; The Art Institute of Chicago and Witte de With Center for Contemporary Art, Rotterdam.

Kamal Aljafari is a Palestinian filmmaker. Aljafari has taught filmmaking at The New School in New York and the Deutsche Film- und Fernsehakademie in Berlin. His contributions to the field have been recognised with fellowships at the Film Study Center - Radcliffe Institute at Harvard University and most recently at the Institute for Ideas and Imagination, Columbia University, Paris 2024-2025. In May 2024, IndieLisboa dedicated a retrospective to his work. In 2022 he was guest of honor at Sicilia Queer filmfest, Palermo. His film A Fidai Film won the grand jury prize at Visions du Réel 2024, and in currently being show at festivals worldwide, including TIFF, London Film Festival and Viennale. He is currently developing a fiction film set to be shot in Jaffa.

Toute une Nuit (1982) + La Chambre (1972)

Introduced by Lucia Aspesi

Cinema Rouge et Noir
18:30

Ten years apart, these two films approach intimacy through a resolutely cinematic lens. La Chambre, 12 mins, offers a formal study of a room, through repeated 360 pans that finally settle on a woman in bed; the filmaker herself as she listlessly devours an apple. Toute une Nuit (90 mins) offers a series of intense fragments to do with quivering, loving and sexual tension. Over the course of a hot stomy summer night, men, women, children, caught up in their desire and ready for anything, allow themselves be carried away, to the point of vertigo, by the excess of their feelings.

Chantal Akerman was born in Brussels on 6 June 1950. At the age of 15, she discovers Jean-Luc Godard’s Pierrot le Fou by chance, which inspired her to take up filmmaking. Entering the Brussels film school (INSAS) in 1967, she left straight away, rejecting the rigid framework of the school. The following year she made her first short film, Saute ma ville, first expression of a free and radical cinema. Akerman moved to New York in the early 1970s, where she discovered the experimental cinema of Jonas Mekas and Michael Snow, which had a profound influence on the films she made there (La Chambre, Hotel Monterey). On her return to Belgium, she directed Je, tu, il, elle and then raised the necessary funds to produce Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. This film about the daily life of a housewife, an essential piece of feminist cinema and presented at the Cannes Fortnight in 1975, brought her international recognition and remains a major cinematic experiment in the history of cinema, studied and admired for decades. Akerman ‘s full filmography numbers fourty odd films and has been widely acclaimed throughout the world. Akerman is considered one of the most important and influential European directors of her generation, thanks to her visionary treatment of images, time and space, and the multiple reflections that run through her films: on identity, belonging, memory, feminism, gender and sexuality.

Lucia Aspesi is a curator at Pirelli HangarBicocca, Milan, with a particular interest in the status of film and moving image in the field of contemporary art. She co-curated Trisha Baga' s solo show at Hangar Bicocca in 2020 and in 2017, she presented the first solo show in Italy by Ben Rivers at La Triennale di Milano. In 2019 she co-curated the major retrospective on Marinella Pirelli at Museo del Novecento, Milan (2019).

With thanks to Celine Brouwez and the Fondation Chantal Akerman

These films are in french only, however they are largely silent.
Tickets €4, free for students.

Nuova orfeo is thrilled to present an evening with Laure Prouvost

Cinema Rouge et Noir
18:00

Laure Prouvost was born in Lille, France (1978) and is currently based in Brussels. She received her BFA from Central St Martins, London in 2002 and studied towards her MFA at Goldsmiths College, London. Prouvost won the MaxMara Art Prize for Women in 2011 and was the recipient of the Turner Prize in 2013. In 2019 she represented France at the Venice Biennale.

Find her personal biography here

The srceening will be followed by a Q & A between Prouvost and Nuova Orfeo members Stella Sideli and artist Beatrice Gibson

Language – in its broadest sense - permeates the video, sound, installation and performance work of Laure Prouvost. Known for her immersive and mixed-media installations combining film and installation in humorous, generous and idiosyncratic ways, Prouvost’s work addresses miscommunication and ideas becoming lost in translation. Playing with language as a tool for the imagination, Prouvost confounds linear narrative, verbal expectation and association between word, image and meaning, placing the spectator in a situation of doubt and incomprehension, as well as wonder, both intellectual and sensorial. She combines existing and imagined personal memories with artistic and literary references to create complex film and video installations that muddy the distinction between fiction and reality.

Programme
You are the only one, UK, (2008)
Monologue, UK, (2009)
It heat hit UK, (2010)
Wantee, UK, (2013)
We will go far, UK (2015)
They Parlaient Ideale, France, Italy (2019)

Where humanly possible, these films have been translated into Italian! The discussion afterwards will be in English.

Tickets €4

Followed by a conversation between Nuova Orfeo and the curators in residence of Fondazione Sandretto Re Rebaudengo, Torino.

Cinema Rouge et Noir
18:00

Sadie Benning began making experimental videos when they were 15-years old, after their father, the filmmaker James Benning gave them a Fisher-Price PXL 2000 toy video camera for Christmas. Benning quickly became a pioneer of the genre, recognising its uncanny intimacy and psychodramatic potential. Made mostly in the privacy of the artist's bedroom, the videos offer a window into Benning's teenage world, narrating the discovery of their sexuality and the difficult experience of growing up as a lesbian in a violent, hostile and oppressive society. Using scrawled and handwritten text from diary entries, to record thoughts, feelings and images, Benning's videoworks reveal the longings and complexities of a developing identity in grainy pixelated black and white. Playfully seductive and painfully honest, Benning’s floating, close-up camera functions as a witness to their intimate revelations and acts as an accomplice in defining their evocative and experimental form. Benning's work emerges from a place half-innocent and half-adult— with all the honesty, humor, and desperation of a person just coming into self-awareness, trapped and uneasy.

Event a collaboration with and supported by Fondazione Sandretto Re Rebaudengo, Torino.

Sadie Benning Videoworks: Volume 1

A New Year (1989)
In a version of the “teenage diary,” Benning places their feelings of confusion and depression alongside grisly tales from tabloid headlines and brutal events in her neighborhood. The difficulty of finding a positive identity for oneself in a world filled with violence is starkly revealed by Benning’s youthful but already despairing voice.

Living Inside (1989)
When they were 16, Benning stopped going to high school for three weeks and stayed inside with their camera, TV set, and a pile of dirty laundry. This tape mirrors Benning's psyche during this time. With the image breaking up between edits, the rough quality of this early tape captures Benning’s sense of isolation and sadness, their retreat from the world. As such, Living Inside is the confession of a chronic outsider.

Me and Rubyfruit (1990)
Based on a novel by Rita Mae Brown, Me and Rubyfruit chronicles the enchantment of teenage lesbian love against a backdrop of pornographic images and phone sex ads. Benning portrays the innocence of female romance and the taboo prospect of female marriage.

If Every Girl Had a Diary (1990)
Setting their pixelvision camera on themselves and their room, Benning searches for a sense of identity and respect as a woman and a lesbian. Acting alternately as confessor and accuser, the camera captures Benning’s anger and frustration at feeling trapped by social prejudices.

Jollies (1990)
Benning gives a chronology of their crushes and kisses, tracing the development of their nascent sexuality. Addressing the camera with an air of seduction and romance, giving the viewer a sense of their anxiety and special delight as they came to realize their lesbian identity.

Sadie Benning Videoworks: Volume 2

A Place Called Lovely (1991)
“Nicky is seven. His parents are older and meaner.” A Place Called Lovely references the types of violence individuals find in life, from actual beatings, accidents and murders, to the more insidious violence of lies, social expectations, and betrayed faith. Benning collects images of this socially-pervasive violence from a variety of sources, tracing events from childhood: movies, tabloids, children's games (like mumbledy-peg), personal experiences, and those of others. Throughout, Benning uses small toys as props and examples—handling and controlling them the way we are, in turn, controlled by larger violent forces.

It Wasn't Love (1992)
Benning illustrates a lustful encounter with a “bad girl,” through the gender posturing and genre interplay of Hollywood stereotypes: posing for the camera as the rebel, the platinum blonde, the gangster, the '50s crooner, and the heavy-lidded vamp. Cigarette poses, romantic slow dancing, and fast-action heavy metal street shots propel the viewer through the story of the love affair. Benning’s video goes farther than romantic fantasy, describing other facets of physical attraction including fear, violence, lust, guilt and total excitement. As Benning puts it, “It wasn’t love, but it was something...” It was a chance to feel glamorous, sexy and famous, all at the same time.

Girl Power (1992)
Set to music by Bikini Kill (an all-girl band from Washington), Sadie Benning's Girl Power is a raucous vision of what it means to be a radical girl in the 1990s. Benning relates their personal rebellion against school, family, and female stereotypes as a story of personal freedom, telling the viewer how they used to model like Matt Dillon and skip school in order to adventure alone. Informed by the underground “riot grrrl” movement, this tape transforms the image politics of female youth, rejecting traditional passivity and polite compliance in favor of radical independence and a self-determined sexual identity.

With an introduction by Claire Fontaine

Cinema Rouge e Noir
20:30

Anna
Alberto Grifi, Massimo Sarchielli
1972, 1973, 1974, 1975
225 min

Shot in 1972, first shown in 1975, and newly restored by the Cineteca di Bologna, Alberto Grifi and massimo Sarchielli’s ANNA is an astonishing nearly four-hour documentary about a 16-year-old homeless junkie, eight months pregnant, whom the filmmakers discovered in Rome’s Piazza Navona. Mainly shot on then-newfangled video (which at times gives the black-and-white images a ghostly translucence), it documents the interactions between the beautiful, clearly damaged, often dazed teenager and the directors, who take her in partly out of compassion and partly because she’s a fascinating subject for a film. ANNA cuts between long, often discomfiting domestic scenes (including an interminable delousing in the shower) and equally protracted café discussions back in the square, where the unruly cross talk among hippies, bums, bourgeoisie, and angry young men touches on the movie’s key themes of obligation and intervention: between filmmakers and their subjects, the state and its citizens, fellow members of society. (Dennis Lim)

An evening in collaboration with Jun Kebab

A screening of Heiny Srour's Leila wal Zi’ab (Leila and the Wolves) 1984 and Jocelyene Saab's Les Femmes Palestiniennes (Palestinian Women)

EPYC

Via Pignatelli Aragona, 42,

17:30

All proceeds from this screening will go towards Medicalaid Palestine and Palestinian Childrens Relief Fund.

Leila wal Zi’ab, 1984, 90mins

Drawing on the Arab heritage of oral tradition and mosaic patterns, Leila and the Wolves is an exploration of the collective historical memory of Arab women. Shot over seven years, and in often treacherous conditions, Srour’s film is a masterpiece of filmmaking, mixing together archival footage, fairy-tale storytelling, aesthetically bold imagery, and dramatisations of situations faced by women in Lebanon and Palestine, from early twentieth century to the beginning of the 1980s. Through the eyes of Leila, a Lebanese student dissatisfied with the official, colonial, male-dominated version of the history of the region, the film reconstructs women’s daily, often unglamorous and silent sacrifices, as part of and in parallel with heroic military actions. The stories told here are fierce and sometimes shocking.

Les Femmes palestiniennes, 1974, 16 mins

Les Femmes palestiniennes was made by Saab in 1973 for the French channel Antenne 2. "I wanted to show images of these Palestinian women fighters in Syria, which were very rare at the time. It was just before Sadat’s visit to Israel, and the situation was very tense. While I was editing the film at Antenne 2, Paul Nahon, then head of foreign correspondence, grabbed me by the collar and pulled me out of the editing room. Les Femmes palestiniennes was shelved and never televised. Sincere thanks to Fondazione Cineteca di Bologna, for allowing us reproduce the pgroamme and use their subtitles, Association Jocelyene Saab for their support and Bidoun Magazine (Negar Azimi and Tiffany Malakooti) for suggesting this film to us in 2020!

A collaboration between TB21A Academy and Nuovo Cinema Arabo on the occasion of the exhibitionThus waves comes in pairs at Ocean Space, Venice curated by Barbara Casavecchia

Ocean space, Venice, 18:00

Thus waves comes in pairs takes its title from the poem "Sea and Fog" by Etel Adnan, and refers to the necessity of thinking of, and thinking with, plurality and exchange. Alongside scultptures by Simone Fattal and a newly commissioned instllation by Petrit Halilaj & Álvaro Urbano, the exhibitoin features an expanded public programme focused on supporting situated projects, collective pedagogies and alternative voices along the Mediterranean basin, across art, culture, science, conservation, and activism.

In this context Nuovo Orfeo presents Cinema Arabo Vol 2, an evening of films co-curated by Barbara Casavecchia and inspired by Etel Adnan, including Jocelyne Saab's Beirut Never Again (1976) and Lamia Joreige's Sun and Sea (2021)

PROGRAM

Beirut, Never Again, (35’)

With a child’s eyes Saab follows the daily destruction of the city’s walls. Every morning, between 6 and 10am she roams around Beirut while the militia from both sides rest from their night of fighting. A narration written and voiced by Etel Adan accompanies this devastating and extraordinary docu-poem.

Sun & Sea, (17’)

In ‘Sea & Sun’, at Adnan's request, Joreige enters into a hesitant dialogue with the poets first poem, written in 1949. The sound of waves and the golden light refracted on the blue sea present a seeming counterpoint to the intesity of Saab's film, yet Adnan's poem, hints at a hidden conflict between sun and sea. The threat of turmoil is never far away.

Jocelyne Saab (born in Beirut in 1948) was a Franco-Lebanese filmmaker, best known for her documentaries about the Lebanese civil war. She is considered a pioneer of Arab cinema, and built up a monumental body of work comprising 47 films and 6 photographic series. Mainly produced for television, her documentary films were, before her death on January 7, 2019, best known to the Lebanese diaspora who had access to her films broadcast on television during the war.

Lamia Joreige(born in Beirut in 1972) is a visual artist and film-maker who lives and works in Beirut. She uses archival documents and elements of fiction to reflect on history and its possible narration, and on the relationship between individual stories and collective memory. In her practice, rooted in her country’s experience, she explores the possibilities of representing the Lebanese wars and their aftermath. Her work is essentially on time, the recordings of its trace, and its effects on us.

With thanks to Louise Malherbe and Association Jocelyne Saab

Cinema Rouge e Noir
18:30

A programme of films curated by Hila Peleg and Erika Balsom, co-curators of No Master Territories, Feminist Worldmaking and the Moving Image.

Introduced in person by Erika Balsom.
Produced by Nuova Orfeo and Goethe-Institut Palermo

This programme traces a range of audiovisual perspectives from the Italian feminist movements of the 1970's through the presentation of three short films – La lotta non è finita (Collettivo Femminista di Cinema Roma, 1973), Rony (Annabella Miscuglio, 1973–76), and Paola (Annabella Miscuglio, 1973-76) – alongside an excerpt from Processo per Stupro (A Trial for Rape, 1979), a documentary made by a collective of six women, including Miscuglio.

The screening will be followed by  a short in conversation between Balsom and director Beatrice Gibson, co-founder of Nuova Orfeo

The exhibition No Master Territories, Feminist Worldmaking and the Moving Image, was produced by HKW, Berlin.

18.00-20.00, Cinema Rouge et Noir, Palermo

Supported by Istituto Svizzero and TBA21-Academy

Nuova Orfeo presents New Arab Cinema, a new ongoing, experimental film and artist moving image programme strand that explores and expands on Palermo’s connection to the Arab world by centring Middle Eastern and North African artists and/or subject matter. Vol. I focuses on the work of Basma Alsharif and Jumana Manna, who are joined in conversation by Barbara Casavecchia at the end of the screening.

Basma Alsharif (1983). Working nomadically between the Middle East, Europe, and North America, and currently based in Berlin, Basma Alsharif—an artist and filmmaker of Palestinian heritage—explores cyclical political histories and conflicts. In films and installations that move backward and forward in history, between place and nonplace, she confronts the legacy of colonialism and the experience of displacement with satire, doubt, and hope.

Jumana Manna (1987) is a visual artist and filmmaker raised in Jerusalem and based in Berlin. Her work explores how power is articulated, focusing on the body, land and materiality in relation to colonial inheritances and histories of place. Through sculpture, filmmaking, and occasional writing, Manna deals with the paradoxes of preservation practices, particularly within the fields of archaeology, agriculture and law.

Programme

Basma Alsharif, We Began By Measuring Distance, 19', 2009

Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance. Innocent measurements transition into political ones, examining how image and sound communicate history. We Began by Measuring Distance explores an ultimate disenchantment with facts when the visual fails to communicate the tragic.

Jumana Manna and Sille Storihle, The Goodness Regime, 21 min HD video, 2013

An experimental documentary exploring the myths and images that have enabled an understanding of Norway as a nation of peace and benevolence. The binding element is a series of enactments by children that recount the myths, historical events and cultural personas that have propelled the image of Norway as a peace nation. These are weaved together with archival footage, political speeches and voiceovers from Hollywood films. In a satirical deconstruction of the Goodness Regime that permeates Norwegian society, Manna and Storihle explore the moral dilemmas embedded within the history of one of the wealthiest nations on earth.

Basma Alsharif, The Story of Milk and Honey, 10 min, 2011

Narrated by an anonymous voice, the details of attempting to write a love story in Beirut, Lebanon are told through a delicate weaving of fact and fiction. A tale of defeat transforms into a multi-layered journey exploring how we collect information, perceive facts and recreate history to serve our own desires.

Jumana Manna, Blessed Blessed Oblivion, 21 min HD Video, 2010

A portrait of masculine performativity in East Jerusalem, as manifested in gyms, body shops and hair dressing parlors. Inspired by Kenneth Anger’s Scorpio Rising (1963), the video uses visual collage and the musical soundtrack as ironic commentary. Simultaneously psychologizing the characters and seduced by them, Manna finds herself in a double bind similar to the conflicted desire that animates her protagonist as he drifts from abject rants to declamations of heroic poetry or unashamed self-praise.

In collaboration with the Refusals and Practices of Freedom, a self-organized feminist residency and summer school, (14-16 May at Studio Claire Fontaine).

Cinema Rouge et Noir

6.30pm
Tickets €4

Followed by a conversation between the director Pratibha Parmar and Yaniya Lee

SARI RED (1988, 12') is a video poem and a poetical memorial to the death of of Kalbinder Kaur Hayre, a young Indian woman killed in 1985 in a racist attack in England. The video makes a break with the ‘master codes’ of cinema by using culturally specific signs and symbols to create a mise-en-scene of this loss and bereavement.

A Place of Rage (1991, 54'), is one of Pratibha Parmar’s most celebrated works and brings together Angela Davis, June Jordan, Trinh T. Minh-ha and Alice Walker in a powerful meditation on political and artistic solidarities forged across feminist, anti-racist, and decolonial struggles. Within the context of civil rights, black power, lesbian and gay rights and the global feminist movement, this formidable quartet of women assesses how black feminist thinking revolutionized American society, and the world generally, at the time.

Pratibha Parmar is was born in Nairobi, Kenya and grew up in London. Her films have been broadcast on television, exhibited at international film festivals, and shown in gallery spaces around the world. Pratibha is Writer/Director/Producer of over 16 documentaries and the author and editor of several ground breaking books notably, “The Empire Strikes Back: Race and Racism in 1970s Britain.” She has collaborated on and made films with with legendary figures from the global feminist movement including Alice Walker, Angela Davis, June Jordan and Andrea Dworkin. Parmar was a Visiting Artist at Stanford University and taught film as an Associate Professor at the California College of the Arts, for many years.

Yaniya Lee is the author of Selected Writing on Black Canadian Art (2024, figure ground/Art Metropole) and Buseje Bailey: Reasons Why We Have to Disappear Every Once in a While, A Black Art History Project (2024, Artexte). Among the projects she has developed are the Black Canadian Art History Scholarship Database (blackartstudy.ca) and Doing the Work: Selected Syllabi (greyzonepedagogies.com). She has published in numerous journals and magazines including: Canadian Art Review, C Magazine, Flash Art, Montez Press, and Asia Art Archive and In 2020 she co-edited a special issue of Canadian Art magazine on black artists and black art histories.

All films subtitled into Italian. The conversation will be in English.

An evening with Ana Vaz in collaboration with Institut Français, Palermo

Institut Français Terrace
Cantieri Culturali alla Zisa
8:00pm - 11:00 pm

Programme

É Noite na América (It is Night in America), 2022, 66 minutes
Ana Vaz describes É Noite na América as an eco-horror tale, freely inspired by A Cosmopolitics of Animals by Brazilian philosopher Juliana Fausto. Filmed in Brasília—a city whose construction justified the violent displacement of both wildlife and Indigenous populations—the film’s postcolonial ecocritique resonates with a poetic reflection on cinematic vision. From the artificial creation of darkness through the day-for-night technique, to the use of expired 16mm film, this immersive tale casts an animal spell across eco-horror, environmental cinema, and documentary, subverting the boundaries of cinematic genres.

Apiyemiyekî? 2019, 27 minutes
Apiyemiyekî? is a short film that explores the excavation of collective memory, confronting the ghosts of colonialism through an archive of over 3,000 drawings made during a literacy project with the Waimiri-Atroari people, native to the Brazilian Amazon. Originally created as a means of exchanging knowledge about local flora and fauna, the drawings became powerful representations of colonial violence—graphic testimonies of trauma. Vaz brings them to life cinematically, superimposing them onto the Amazonian landscape, juxtaposing the natural flow of the river with the brutality of the colonial road, and interrogating the archive itself: Apiyemiyekî? means “Why?”.

Ana Vaz (1986, Brazil) is an artist and filmmaker born in the Brazilian Midwest, inhabited by the ghosts buried by its modernist capital: Brasília. Her filmography provokes and questions cinema as an art of the (in)visible and an instrument capable of dehumanizing the human, expanding connections with other-than-human or spectral forms of life. As a consequence or expansion of her cinematography, her artistic activities are also embodied by writing, critical pedagogy, installations and collective walks.

Her films have screened at numerous festivals and museums including Locarno Film Festival, Berlinale Forum Expanded, New York Film Festival, CPH:DOX, TIFF Wavelengths, and Cinéma du Réel, Tate Modern, Palais de Tokyo, among many others. She has recently had solo exhibtions at Secession in Vienna, Jue de Paume, Batalha Centro de Cinema Praça da Batalh, Porto and Lux London . She has also participated in numberous notable group shows including Penumbra, Fondazione In Between art and film. She is a 2025 fellow at Villa Medici, Rome.

Ana will be joined for a conversation after the screening by Alessandro Gallicchio.

Alessandro Gallicchio (1986, Italy) is a lecturer in contemporary art history at Sorbonne University, a member of the Centre André Chastel and a research associate at CETOBaC. With a PhD in art history from the universities of Florence, Paris-Sorbonne and Bonn (2016), he pursues his research following the methodologies developed by the social and political history of art. He is interested in the influences of nationalism and anti-Semitism in the construction of artistic discourse, and in the relationship between art, architecture and urban space in the Balkans and the Mediterranean. In 2021, he was awarded the André Chastel grant from Villa Medici for a research project entitled The Albania Pavilion at the Prima Mostra Triennale delle Terre d’Oltremare in Naples (1940). Traces of a fascist “coloniality” device.

Screenings O.V. with italian subtitiles.

This is a free event.

We had the experience but missed the meaning. An evening withLaida Lertxundi in collaboration with Instituto Cervantes, Palermo.

Cinema Rouge et Noir
18:30 - 21:00

Combining conceptual rigor with sensual pleasure in a process she calls Landscape Plus, Lertxundi's films establish parallels between landscape and the body as centers of pleasure and experience. Her practice is collaborative in nature, aiming to actively deconstruct the hierarchies of a traditional film shoot through the free exchange of roles both behind and in front of the camera, and the staging of improvised gestures and spontaneous, collective activities in various natural environments. Lertxundi’s work is invested in landscape as both an artistic tradition and a particular set of regional characteristics, idioms and inhabitants — from the deserts of California to the dramatic mountains of her native Basque Country

The screening will be followed by a Q & A between Laida Lertxundi and Gonzalo De Pedro Amatria

Laida Lertxundi is an artist living and working in Paris. Her work has been exhibited at the High Line Art, New York (2023), Whitney Biennial, New York, (2012), Hammer Museum (2026), Biennale de Lyon (2013), Frieze Projects New York (2014) and in museums and galleries such as MoMA in New York (2022, 2017), Tate Modern, London (2016), Whitechapel Gallery, London (2015), ARKO Art Center, Seoul (2022), ICA, London (2013), Museo de Arte Moderno de Medellín , Colombia (2015), CCCB (2017, 2013, 2021, 20122), PS1 MoMA (2013), and Kunstverein Hamburg  (2014) .Her films have been screened at numerous festivals such as Locarno, New York Film Festival, International Film Festival Rotterdam, London Film Festival, BFI, TIFF Toronto, Gijón, San Sebastián or Edinburgh among others. Lertxundi received a MFA from the California Institute of the Arts and a BFA from Bard College. She is currently a Professor at École Nationale Supérieure des Beaux-Arts de Lyon.

Gonzalo de Pedro Amatria (Pamplona, 1978) is a film programmer and university lecturer. He has been an associate professor at the Carlos III University of Madrid, and has published essays on filmmakers such as Hong Sangsoo, Ross McElwee, Jem Cohen and Werner Herzog. His programming experience includes working as programmer and programming coordinator at the Punto de Vista Festival in Pamplona until 2014, and curating film cycles for festivals and art centres such as the Film Society of Lincoln Center, FIDMarseille or Museo Reina Sofía, among others. He was a member of the selection committee of the Locarno Film Festival from 2014 to 2018, and associate programmer of Filmoteca Española and the Valdivia International Film Festival. Between 2018 and 2021 he was artistic director of Cineteca Madrid (Matadero Madrid)

Programme

We Had the Experience but Missed the Meaning, 2014, 8 min, 16mm
Autoficción, 2020, 14min, 35mm
Inner outer space, 2021, 16min, 35mm,
In a Nearby Field, 16min, 35mm, color, sound, 2023

Tickets €4, students free

Nuova orfeo is thrilled to present an evening with Laure Prouvost

Cinema Rouge et Noir
18:00

Laure Prouvost was born in Lille, France (1978) and is currently based in Brussels. She received her BFA from Central St Martins, London in 2002 and studied towards her MFA at Goldsmiths College, London. Prouvost won the MaxMara Art Prize for Women in 2011 and was the recipient of the Turner Prize in 2013. In 2019 she represented France at the Venice Biennale.

Find her personal biography here

The srceening will be followed by a Q & A between Prouvost and Nuova Orfeo members Stella Sideli and artist Beatrice Gibson

Language – in its broadest sense - permeates the video, sound, installation and performance work of Laure Prouvost. Known for her immersive and mixed-media installations combining film and installation in humorous, generous and idiosyncratic ways, Prouvost’s work addresses miscommunication and ideas becoming lost in translation. Playing with language as a tool for the imagination, Prouvost confounds linear narrative, verbal expectation and association between word, image and meaning, placing the spectator in a situation of doubt and incomprehension, as well as wonder, both intellectual and sensorial. She combines existing and imagined personal memories with artistic and literary references to create complex film and video installations that muddy the distinction between fiction and reality.

Programme
You are the only one, UK, (2008)
Monologue, UK, (2009)
It heat hit UK, (2010)
Wantee, UK, (2013)
We will go far, UK (2015)
They Parlaient Ideale, France, Italy (2019)

Where humanly possible, these films have been translated into Italian! The discussion afterwards will be in English.

Tickets €4

A film program from the Marinella Pirelli archive co-curated by Nuova Orfeo and Lucia Aspesi.

The next chapter of the Italo–Feminisms series is dedicated to the artist and filmmaker Marinella Pirelli (1925–2009, Verona), a crucial figure in Italian post-war art, who left behind a unique body of work, including painting, drawing, moving image, light environments and experimental cinema. She was directly involved in politics of her time especially in feminist groups and she was particularly close to feminist theorist Carla Lonzi and the artists Carla Accardi, Jannis Kounellis, Luciano Fabro, Bruno Munari. Trained as a painter, Pirelli approached cinema in the 1950s, exploring new ways of representing light through the use of the camera. Her evocative films are based on a balance between colors and abstract forms that emerge both from a meditation on luminous phenomena and from a refraction of light, alternating with an intimate reflection on women's subjectivity. Like many experimental filmmakers and artists, Marinella Pirelli began as an amateur, seeking to free her personal artistic vision and to promote an interest in new technologies. Many of her experimental films—particularly the earlier ones—capture a moment of transition in the arts, absorbed by the artist and channeled into other disciplines such as painting, drawing, literature, and poetry, in a search for new techniques. These 16mm explorations were kept in a dark basement for over forty years and have only recently been exhibited.

The screenings will be followed by a conversation between curators Lucia Aspesi and Giulia Colletti.

Lucia Aspesi has been working closely with the Marinella Pirelli Archive for over a decade and has co-curated a retrospective together with Iolanda Ratti at the Museo del Novecento in Milan in 2019, titled “Luce Movimento. Il cinema sperimentale di Marinella Pirelli.” She is currently a curator at Pirelli HangarBicocca, where she has co-curated exhibitions by Trisha Baga, Dineo Seshee Bopape, Chiara Camoni, Sheela Gowda, Thao Nguyen Phan, Daniel Steegmann Mangrané, and Nari Ward. She recently curated exhibitions by Tarek Atoui and Nan Goldin and presented a solo exhibition by Ben Rivers at the Triennale Milano (2017). Since 2020, she has been teaching Curatorial Studies at NABA – Nuova Accademia di Belle Arti. She has contributed to numerous publications and catalogues and regularly gives lectures on the relationship between curatorial practice and the moving image.

Giulia Colletti is a curator and art historian. Her research traces the emergence of mega-structural landscapes shaped by mining territories and computational systems. Informed by cosmotechnics in Southern/Southeastern Europe and East Asia, she examines the reverberations of technological epistemic regimes. Engaging with artists who probe extractive paradigms, the erosion of living matter, and speculative futures, her work explores how biosphere-technosphere entanglements reshape modes of world-making. She is the co-curator of the 5th Industrial Art Biennial, supported by the 13th Italian Council. In 2025, she is Research Fellow at the National Museum of Modern and Contemporary Art, Korea – MMCA, and at the National Taiwan Museum of Fine Arts – NTMoFA. From 2019 to 2025, she served as Curator of Programs and Digital at Castello di Rivoli Museo d’Arte Contemporanea.

Programme:

Narciso, film esperienza (10’, 1966-67)

Bruciare (4’, 1971)

Appropriazione, a propria azione, azione propria – Sole in mano (6’, 1973)

Lago, Soggettivo-Oggettivo (14’, 1965)

_______

7pm, Ai vini d'oro, P.za Francesco Nascè, 11, Palermo

Free entrance

A evening of film and poetry orbiting around the work of Patrizia Vicinelli, with readings by Allison Grimaldi Donahue, Tiziana La Melia and Murmur

Co curated by Nuova Orfeo and Lisa Andreani

Patrizia Vicinelli was a prolific poet and a key figure of the italian avant-garde. Her poetic output - from sound and concrete poetry to epic poems - was largely published in magazines and in the form of multiples and editions. She collaborated with mutiple artists and writers from the neo-avant guard from Emilio Villa and Aldo Braibanti to Gruppo 63 and also, worked closely with central figures from the italian experimental cinema scene, both in font of and behind camera, making films on 16mm with Alberto Grifi, Gianni Castagnoli and Mario Gianni.

'In viaggio con Patrizia' explores Vicinelli's filmic output - in particular her relationship to Alberto Grifi - as well as her connection to a new generation of Italian poets: Allison Grimaldi Donahue, (Bologna / U.S.A) Tiziana La Melia (Palermo / Vancouver) and Murmur (Catania / Milano). The programme includes In viaggio con Patrizia (1965) Grifi's love diary, composed of long pauses, written with and for Patrizia (his partner throughout the 1960s) and Errore di gruppo (1973) by Karma Film (Mario Gianni, Elio Rumma, Patrizia Vicinelli) which stars Vicinelli as its protgaonist mysteriously wandering through the city of Lourdes as well as readings and performances by Grimaldi Donahue, La Melia and Murmur.

Allison Grimaldi Donahue(1984, Middletown, Connecticut USA) works in text and performance exploring modes in which language and text can move between individual and collective experience. Her work ranges from translation, particularly of feminist experimental authors like Carla Lonzi (Self-portrait, Divided 2021) and Tomaso Binga (in Euforia, Lenz Press 2024) to the creation of poetry performances that include song and printed matter such as in a 2023 performance called  with the authority of suddenness: listening for voices centered around the work of Giuni Russo at Kunsthalle Bern. She lives in Bologna

Tiziana La Melia (b. 1982, Palermo, IT), raised on an orchard-garden on Syilx territories, and living as a guest on the unceded territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səl̓ílwətaʔɬ peoples.  Their writing and art practice gleans the detritus of the everyday and transmutes it into material textures, and iterative shapes and symbols, which move through layers of diasporic time. Tiziana’s work has taken shape in a wide array of forms from painting, books, collaborations, installation, sculpture, collage, and moving image.

Murmur is a contemporary poetry collective founded by Maria Luce Cacciaguerra (Palermo 1997) and Greta Sugar (Milan, 1998). It was established in Milan in the winter of 2022 with the idea of reviving tpoetic art through connection. Murmur gathers the words, sounds, and visual explorations of artists, thinkers, and anyone who holds poetry dear.

The project is realized in collaboration with Associazione Culturale Alberto Grifi and supported by "Lazio Contemporaneo 2022” promoted by Regione Lazio.

With an introduction by Claire Fontaine

Cinema Rouge e Noir
20:30

Anna
Alberto Grifi, Massimo Sarchielli
1972, 1973, 1974, 1975
225 min

Shot in 1972, first shown in 1975, and newly restored by the Cineteca di Bologna, Alberto Grifi and massimo Sarchielli’s ANNA is an astonishing nearly four-hour documentary about a 16-year-old homeless junkie, eight months pregnant, whom the filmmakers discovered in Rome’s Piazza Navona. Mainly shot on then-newfangled video (which at times gives the black-and-white images a ghostly translucence), it documents the interactions between the beautiful, clearly damaged, often dazed teenager and the directors, who take her in partly out of compassion and partly because she’s a fascinating subject for a film. ANNA cuts between long, often discomfiting domestic scenes (including an interminable delousing in the shower) and equally protracted café discussions back in the square, where the unruly cross talk among hippies, bums, bourgeoisie, and angry young men touches on the movie’s key themes of obligation and intervention: between filmmakers and their subjects, the state and its citizens, fellow members of society. (Dennis Lim)

Cinema Rouge e Noir
18:30

A programme of films curated by Hila Peleg and Erika Balsom, co-curators of No Master Territories, Feminist Worldmaking and the Moving Image.

Introduced in person by Erika Balsom.
Produced by Nuova Orfeo and Goethe-Institut Palermo

This programme traces a range of audiovisual perspectives from the Italian feminist movements of the 1970's through the presentation of three short films – La lotta non è finita (Collettivo Femminista di Cinema Roma, 1973), Rony (Annabella Miscuglio, 1973–76), and Paola (Annabella Miscuglio, 1973-76) – alongside an excerpt from Processo per Stupro (A Trial for Rape, 1979), a documentary made by a collective of six women, including Miscuglio.

The screening will be followed by  a short in conversation between Balsom and director Beatrice Gibson, co-founder of Nuova Orfeo

The exhibition No Master Territories, Feminist Worldmaking and the Moving Image, was produced by HKW, Berlin.

An evening in collaboration with Claire Fontaine and Jun Kebab. Dedicated to the victims of the genocide perpetuated by the Israeli government. Food and drinks provided by Jun Kebab, AI Quds, Studio Terra and Planeta wines.

The srceening will be followed by a Q & A between Kamal Aljafari, Beatrice Gibson and Claire Fontaine.

Studio Claire Fontaine 17:00 til late.

All proceeds from this screening will go towards Medicalaid Palestine e Lebanese Red Cross.

Vinyl copies of Aid for Gaza by Hardcore Unlimited Records (Torino) and freshly printed copies of The Gaza Reader Vol 1. Poetry ed. by Artists Against Apartheid, Bidoun, WAWOG and the Kamel Lazaar Foundation will be also available.

Deep thanks to Rosalind Nashishibi, Kamal Aljafari Federico Chiari Diego Marcon, Negar Azimi and Tiffany Malakooti

Dahiet Al Bareed, District of the Post Office (2002, 7')
Hreash House (2004, 20')
Electrical Gaza (2015, 17’)
by Rosalind Nashishibi

British Palestinian artist Rosalind Nashishibi's three Palestinian films were made over the last twenty years and include Dahiet Al Bareed, District of the Post Office, Hreash House and Electrical Gaza. Dahiet Al Bareed, District of the Post Office documents a Gazan suburb built originally for the Palestinian Post Office but reality time a no-man’s land between Ramallah and East Jerusalem. A game of football is played and rubbish burns whilst the daily goings on of the barbershop – Sweet Love Saloon for Men plays out in front of the camera. The adhan, or call to prayer is heard amidst a landscape of decay and degradation. Hreash House filmed inside a Nazareth home, documents day in the life of one Palestinian family preparing and then eating a Ramadan feast. The family is expansive and lives collectively. Electrical Gaza was filmed in the months preceding the Israeli operation 'Protective Edge’ that bombarded the Gaza strip between July and August of 2014. Gaza is shown as a place from myth: isolated, suspended in time, difficult to access and electrically charged. An image of life in Gaza emerges counter to the mediated images of rubble and destruction, one in which we see a community managing to operate against unimaginable odds.

A Fidai film
by Kamal Aljafari (2024, 78')

Composed of archival fragments, A Fidai Film reconstructs the visual memory of Palestine, reclaiming images that were plundered from the Palestine Research Centre in Beirut in 1982. During Israel’s 1982 invasion of Lebanon, the Israseli Defence Force looted the archive of the Palestinian Research Centre, taking thousands of documents with them back to Israel. These included both still and moving images, that formed an integral part of the visual memory of Palestine. The stolen materials were then used by Israel to create a narrative aimed at bolstering the Occupation. As openly referenced by the title (Fidai refers to the figure of the freedom fighter), A FIDAI FILM is an act of resistance that re-appropriates those images in an attempt to reanimate Palestine’s vanishing history. Aljafari broadens our perspective on the Occupation by bending time: material shot decades earlier grimly resembles the daily contemporary images broadcast from Gaza. Restoring the images to their original meaning, stripping away words and Aljafari reveals the intimidating propaganda work that goes hand in hand with military occupation.

Rosalind Nashashibi is a British-Palestinian filmmaker and painter. She studied painting at Sheffield Hallam University before completing a Master of Fine Art at the Glasgow School of Art in 2000. She lives and works in London. Her work in moving image, using 16 mm film, explores subconscious and inner responses to moments and events, often addressing the politics surrounding communal relations and notions of an expanded family. In 2017, Nashashibi was shortlisted for the Turner Prize. Her work has been featured in numberous exhibitions including 'Documenta 14' (2017), 'Sharjah 'Biennial 10' (2011), 'Manifesta 7' (2008) and she represented Scotland in the 2007 'Venice Biennale'. Nashishibi was the first woman to win the Beck’s Futures prize in 2003. Recent solo exhibitions include Secession, Vienna; The Art Institute of Chicago and Witte de With Center for Contemporary Art, Rotterdam.

Kamal Aljafari is a Palestinian filmmaker. Aljafari has taught filmmaking at The New School in New York and the Deutsche Film- und Fernsehakademie in Berlin. His contributions to the field have been recognised with fellowships at the Film Study Center - Radcliffe Institute at Harvard University and most recently at the Institute for Ideas and Imagination, Columbia University, Paris 2024-2025. In May 2024, IndieLisboa dedicated a retrospective to his work. In 2022 he was guest of honor at Sicilia Queer filmfest, Palermo. His film A Fidai Film won the grand jury prize at Visions du Réel 2024, and in currently being show at festivals worldwide, including TIFF, London Film Festival and Viennale. He is currently developing a fiction film set to be shot in Jaffa.

An evening in collaboration with Jun Kebab

A screening of Heiny Srour's Leila wal Zi’ab (Leila and the Wolves) 1984 and Jocelyene Saab's Les Femmes Palestiniennes (Palestinian Women)

EPYC

Via Pignatelli Aragona, 42,

17:30

All proceeds from this screening will go towards Medicalaid Palestine and Palestinian Childrens Relief Fund.

Leila wal Zi’ab, 1984, 90mins

Drawing on the Arab heritage of oral tradition and mosaic patterns, Leila and the Wolves is an exploration of the collective historical memory of Arab women. Shot over seven years, and in often treacherous conditions, Srour’s film is a masterpiece of filmmaking, mixing together archival footage, fairy-tale storytelling, aesthetically bold imagery, and dramatisations of situations faced by women in Lebanon and Palestine, from early twentieth century to the beginning of the 1980s. Through the eyes of Leila, a Lebanese student dissatisfied with the official, colonial, male-dominated version of the history of the region, the film reconstructs women’s daily, often unglamorous and silent sacrifices, as part of and in parallel with heroic military actions. The stories told here are fierce and sometimes shocking.

Les Femmes palestiniennes, 1974, 16 mins

Les Femmes palestiniennes was made by Saab in 1973 for the French channel Antenne 2. "I wanted to show images of these Palestinian women fighters in Syria, which were very rare at the time. It was just before Sadat’s visit to Israel, and the situation was very tense. While I was editing the film at Antenne 2, Paul Nahon, then head of foreign correspondence, grabbed me by the collar and pulled me out of the editing room. Les Femmes palestiniennes was shelved and never televised. Sincere thanks to Fondazione Cineteca di Bologna, for allowing us reproduce the pgroamme and use their subtitles, Association Jocelyene Saab for their support and Bidoun Magazine (Negar Azimi and Tiffany Malakooti) for suggesting this film to us in 2020!

A collaboration between TB21A Academy and Nuovo Cinema Arabo on the occasion of the exhibitionThus waves comes in pairs at Ocean Space, Venice curated by Barbara Casavecchia

Ocean space, Venice, 18:00

Thus waves comes in pairs takes its title from the poem "Sea and Fog" by Etel Adnan, and refers to the necessity of thinking of, and thinking with, plurality and exchange. Alongside scultptures by Simone Fattal and a newly commissioned instllation by Petrit Halilaj & Álvaro Urbano, the exhibitoin features an expanded public programme focused on supporting situated projects, collective pedagogies and alternative voices along the Mediterranean basin, across art, culture, science, conservation, and activism.

In this context Nuovo Orfeo presents Cinema Arabo Vol 2, an evening of films co-curated by Barbara Casavecchia and inspired by Etel Adnan, including Jocelyne Saab's Beirut Never Again (1976) and Lamia Joreige's Sun and Sea (2021)

PROGRAM

Beirut, Never Again, (35’)

With a child’s eyes Saab follows the daily destruction of the city’s walls. Every morning, between 6 and 10am she roams around Beirut while the militia from both sides rest from their night of fighting. A narration written and voiced by Etel Adan accompanies this devastating and extraordinary docu-poem.

Sun & Sea, (17’)

In ‘Sea & Sun’, at Adnan's request, Joreige enters into a hesitant dialogue with the poets first poem, written in 1949. The sound of waves and the golden light refracted on the blue sea present a seeming counterpoint to the intesity of Saab's film, yet Adnan's poem, hints at a hidden conflict between sun and sea. The threat of turmoil is never far away.

Jocelyne Saab (born in Beirut in 1948) was a Franco-Lebanese filmmaker, best known for her documentaries about the Lebanese civil war. She is considered a pioneer of Arab cinema, and built up a monumental body of work comprising 47 films and 6 photographic series. Mainly produced for television, her documentary films were, before her death on January 7, 2019, best known to the Lebanese diaspora who had access to her films broadcast on television during the war.

Lamia Joreige(born in Beirut in 1972) is a visual artist and film-maker who lives and works in Beirut. She uses archival documents and elements of fiction to reflect on history and its possible narration, and on the relationship between individual stories and collective memory. In her practice, rooted in her country’s experience, she explores the possibilities of representing the Lebanese wars and their aftermath. Her work is essentially on time, the recordings of its trace, and its effects on us.

With thanks to Louise Malherbe and Association Jocelyne Saab

18.00-20.00, Cinema Rouge et Noir, Palermo

Supported by Istituto Svizzero and TBA21-Academy

Nuova Orfeo presents New Arab Cinema, a new ongoing, experimental film and artist moving image programme strand that explores and expands on Palermo’s connection to the Arab world by centring Middle Eastern and North African artists and/or subject matter. Vol. I focuses on the work of Basma Alsharif and Jumana Manna, who are joined in conversation by Barbara Casavecchia at the end of the screening.

Basma Alsharif (1983). Working nomadically between the Middle East, Europe, and North America, and currently based in Berlin, Basma Alsharif—an artist and filmmaker of Palestinian heritage—explores cyclical political histories and conflicts. In films and installations that move backward and forward in history, between place and nonplace, she confronts the legacy of colonialism and the experience of displacement with satire, doubt, and hope.

Jumana Manna (1987) is a visual artist and filmmaker raised in Jerusalem and based in Berlin. Her work explores how power is articulated, focusing on the body, land and materiality in relation to colonial inheritances and histories of place. Through sculpture, filmmaking, and occasional writing, Manna deals with the paradoxes of preservation practices, particularly within the fields of archaeology, agriculture and law.

Programme

Basma Alsharif, We Began By Measuring Distance, 19', 2009

Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance. Innocent measurements transition into political ones, examining how image and sound communicate history. We Began by Measuring Distance explores an ultimate disenchantment with facts when the visual fails to communicate the tragic.

Jumana Manna and Sille Storihle, The Goodness Regime, 21 min HD video, 2013

An experimental documentary exploring the myths and images that have enabled an understanding of Norway as a nation of peace and benevolence. The binding element is a series of enactments by children that recount the myths, historical events and cultural personas that have propelled the image of Norway as a peace nation. These are weaved together with archival footage, political speeches and voiceovers from Hollywood films. In a satirical deconstruction of the Goodness Regime that permeates Norwegian society, Manna and Storihle explore the moral dilemmas embedded within the history of one of the wealthiest nations on earth.

Basma Alsharif, The Story of Milk and Honey, 10 min, 2011

Narrated by an anonymous voice, the details of attempting to write a love story in Beirut, Lebanon are told through a delicate weaving of fact and fiction. A tale of defeat transforms into a multi-layered journey exploring how we collect information, perceive facts and recreate history to serve our own desires.

Jumana Manna, Blessed Blessed Oblivion, 21 min HD Video, 2010

A portrait of masculine performativity in East Jerusalem, as manifested in gyms, body shops and hair dressing parlors. Inspired by Kenneth Anger’s Scorpio Rising (1963), the video uses visual collage and the musical soundtrack as ironic commentary. Simultaneously psychologizing the characters and seduced by them, Manna finds herself in a double bind similar to the conflicted desire that animates her protagonist as he drifts from abject rants to declamations of heroic poetry or unashamed self-praise.

Nuova Orfeo and Sicilia Queer present:

The Human Surge (2016) Dir. Eduardo Williams

+ The Canyon (2021) Dir. Zachary Epcar
Cinema De Seta
Palermo, Sicily

Nuova Orfeo are totally delighted to present two fabulous films in the context of the wondrous Sicilia Queer exploring youth, alienation and the sublime.

In Epcar’s The Canyon we travel through an urban residential development until it slips into oblivion. The boxy architecture and cordoned greenery of a luxury housing developments gives way to an architecture of dreams, which it depicts through a sequence of precise frames, stock gestures, and pre-programmed phrases, drifting into entropy.

Winner of the Golden Leopard at Locarno, Eduardo Williams' debut feature, The Human Surge, is a mesmerising, sinuous and queer exploration of millennials, technology and the disorientating, fractious nature of the present. The paths of four listless interconnected protagonists -pressed for cash and inseparably attached to their laptops and phones - entwine, across continents and landscapes, via bodies, chat rooms and ants.

The screening will be followed by an in-person conversation between Eduardo Williams, Dennis Lim, director of the New York Film Festival and Beatrice Gibson.

The screening begins at 6.30pm

Cinema De Seta
Cantieri Culturali
18:30

Nuova Orfeo are delighted to present a screening of films celebrating the work of cult artist, activist and feminist film maker, the late Barbara Hammer.

A pioneer of experimental queer cinema Hammer produced over 90 films and installation during the span of her 50 year career. This screening focuses on earlier works: (from 1974-1987) super 8, 16mm and video pieces, many of which orbited around Hammer's personal life, tackling broken relationships, periods and aging, whilst lyrically exploring sexuality, female pleasure and the body in formally radical and innovative ways.

Introduced by Beatrice Gibson

Programme:
Psychosynthesis 6 mins
Menses 3 mins
Sync Touch 10 mins
Sappho 6 mins
No no nooky TV 12 mins
SuperDyke meets Madame X, 20 mins
Audience, 32 mins

Throughout September 2021


Arena La Sirenetta, Via Azalea, Mondello

Palermo, Sicily

Orfeo on the beach was the inauguratory event of Nuova Orfeo as an entity!

It was comprised of a season of radical, feminist, cult film, experimental cinema and artist's moving image at the historic open air cinema La Sirenetta. The programmed features cult feminist classics such as Barbara Loden's Wanda and Nina Menkes' Queen of Diamonds as well an evening with the artist Pauline Curnier Jardin, the Italian premiere of Gibson's Dear Barbara, Bette, Nina and a curatorial collaboration with the collectives Nomadica and ৺ ෴ ර ∇ ❃﹌﹌ on film, feminism and the Italian South.

Orfeo on the Beach was supported by Società italo-belga, Institut Français Palermo, and Sinergie Group


Project Partners:

Nomadica

Sicilia Queer

Written and directed by Barbara Loden, Wanda (1970) is a milestone of American independent filmmaking that has seen little distribution since its release. The film stars Loden in the titular role of Wanda Goronski, a woman who leaves her children and abusive husband to embark on a series of unfortunate encounters, ending up as an accomplice to a robber and petty criminal. Shot unflinchingly on 16mm in Pennsylvania coal country, and inspired by a news report of a woman who thanked a judge for sending her to prison, this sometimes brutal and often harrowing portrait was described by its director as 'semi-autobiographical'. A film about women, actresses, landscapes, what drives us to change and what keeps us in place.

Wanda is accompanied by Dear Barbara Bette and Nina (2010), a 16mm short by Beatrice Gibson. Dear Barbara, Bette, Nina, (2021) was commissioned as part of a project by Punto de Vista Film Festival in which several filmmakers were asked by curators Garbiñe Ortega and Matías Piñeiro to film a letter to a filmmaker they admired. For Las Cartas Que no Fueron Tambien Son – The Letters that weren’t and also are - Gibson wrote a love letter to three filmmakers – Barbara Loden, Nina Menkes & Bette Gordon, women whose voices and characters have influenced her deeply in the last few years.

৺ ෴ ර ∇ ❃﹌﹌ is a feminist collective dedicated to feminism and the southern question, consisting of Claudia Gangemi, Sonia D'alto, Sofia Melluso, Naomi Morelloand Susanna Gonzo.

Programma della serata:

- Follia come Poesia (Dir. Le Nemesiache, 1977)

- Il piacere del testo (Dir. Adriana Monti, 1977)

- Serie di brevi ritratti in Super 8 delle collaboratrici al collettivo di cinema femminista di Roma: Maitreya, Rony, Paola, Anna’s Textures (Dir. Annabella Miscuglio del Collettivo di cinema Femminista di Roma, 1973-1976)

- Narciso, film esperienza (Dir. Marinella Pirelli, 1966-67)

- Medusa and the Abyss (Dir. Felicity Palma, 2019)

Widely hailed as a feminist masterpiece, Queen of Diamonds stars sister Tinka Menkes (a regular presence in her films) as a disaffected Las Vegas blackjack dealer whose life unfolds in a series of often-surreal encounters framed by the bleak desert landscape and glittering lights of the strip.

Deep Sleep draws from historical avant-garde cinema to produce a poetic, sound-based meditation following brainwave-generating binaural beats. The dreamlike video is filmed among abandoned ruins in Malta, Athens, and Gaza, connecting the three locations in an attempt to convey the experience of being in Gaza from these monumental sites. Colorful flickering lights, sun, earth, stone, rock, sky, and water inundate the scenes, and the rhythmic sounds of waves, chimes, and footsteps remain. Restricted from visiting Gaza for a period, Alsharif practiced self-hypnosis in an attempt to locate herself in several places at once and filmed this work while in a trance state. Appearing in the video as her own double, dressed in all-white, she walks through unidentifiable ruins, holding a recording device. Here, Gaza is called upon, reinvented through the lens of the artist’s personal relationship to Palestine.

Bette Gordon’s Variety, (1983)scripted by the late Kathy Acker, follows Christine a bright and unassuming young woman, who gets a job selling tickets at a porn cinema, in downtown NY. Emerging from the underground NYC arts scene, Variety is a snapshot of the NY scene at the time, includes cameos from Cookie Mueller and Nan Goldin, and is utterly ground breaking in its treatment of female voyeurism and desire.

Followed by a conversation between Nuova Orfeo and the curators in residence of Fondazione Sandretto Re Rebaudengo, Torino.

Cinema Rouge et Noir
18:00

Sadie Benning began making experimental videos when they were 15-years old, after their father, the filmmaker James Benning gave them a Fisher-Price PXL 2000 toy video camera for Christmas. Benning quickly became a pioneer of the genre, recognising its uncanny intimacy and psychodramatic potential. Made mostly in the privacy of the artist's bedroom, the videos offer a window into Benning's teenage world, narrating the discovery of their sexuality and the difficult experience of growing up as a lesbian in a violent, hostile and oppressive society. Using scrawled and handwritten text from diary entries, to record thoughts, feelings and images, Benning's videoworks reveal the longings and complexities of a developing identity in grainy pixelated black and white. Playfully seductive and painfully honest, Benning’s floating, close-up camera functions as a witness to their intimate revelations and acts as an accomplice in defining their evocative and experimental form. Benning's work emerges from a place half-innocent and half-adult— with all the honesty, humor, and desperation of a person just coming into self-awareness, trapped and uneasy.

Event a collaboration with and supported by Fondazione Sandretto Re Rebaudengo, Torino.

Sadie Benning Videoworks: Volume 1

A New Year (1989)
In a version of the “teenage diary,” Benning places their feelings of confusion and depression alongside grisly tales from tabloid headlines and brutal events in her neighborhood. The difficulty of finding a positive identity for oneself in a world filled with violence is starkly revealed by Benning’s youthful but already despairing voice.

Living Inside (1989)
When they were 16, Benning stopped going to high school for three weeks and stayed inside with their camera, TV set, and a pile of dirty laundry. This tape mirrors Benning's psyche during this time. With the image breaking up between edits, the rough quality of this early tape captures Benning’s sense of isolation and sadness, their retreat from the world. As such, Living Inside is the confession of a chronic outsider.

Me and Rubyfruit (1990)
Based on a novel by Rita Mae Brown, Me and Rubyfruit chronicles the enchantment of teenage lesbian love against a backdrop of pornographic images and phone sex ads. Benning portrays the innocence of female romance and the taboo prospect of female marriage.

If Every Girl Had a Diary (1990)
Setting their pixelvision camera on themselves and their room, Benning searches for a sense of identity and respect as a woman and a lesbian. Acting alternately as confessor and accuser, the camera captures Benning’s anger and frustration at feeling trapped by social prejudices.

Jollies (1990)
Benning gives a chronology of their crushes and kisses, tracing the development of their nascent sexuality. Addressing the camera with an air of seduction and romance, giving the viewer a sense of their anxiety and special delight as they came to realize their lesbian identity.

Sadie Benning Videoworks: Volume 2

A Place Called Lovely (1991)
“Nicky is seven. His parents are older and meaner.” A Place Called Lovely references the types of violence individuals find in life, from actual beatings, accidents and murders, to the more insidious violence of lies, social expectations, and betrayed faith. Benning collects images of this socially-pervasive violence from a variety of sources, tracing events from childhood: movies, tabloids, children's games (like mumbledy-peg), personal experiences, and those of others. Throughout, Benning uses small toys as props and examples—handling and controlling them the way we are, in turn, controlled by larger violent forces.

It Wasn't Love (1992)
Benning illustrates a lustful encounter with a “bad girl,” through the gender posturing and genre interplay of Hollywood stereotypes: posing for the camera as the rebel, the platinum blonde, the gangster, the '50s crooner, and the heavy-lidded vamp. Cigarette poses, romantic slow dancing, and fast-action heavy metal street shots propel the viewer through the story of the love affair. Benning’s video goes farther than romantic fantasy, describing other facets of physical attraction including fear, violence, lust, guilt and total excitement. As Benning puts it, “It wasn’t love, but it was something...” It was a chance to feel glamorous, sexy and famous, all at the same time.

Girl Power (1992)
Set to music by Bikini Kill (an all-girl band from Washington), Sadie Benning's Girl Power is a raucous vision of what it means to be a radical girl in the 1990s. Benning relates their personal rebellion against school, family, and female stereotypes as a story of personal freedom, telling the viewer how they used to model like Matt Dillon and skip school in order to adventure alone. Informed by the underground “riot grrrl” movement, this tape transforms the image politics of female youth, rejecting traditional passivity and polite compliance in favor of radical independence and a self-determined sexual identity.

Toute une Nuit (1982) + La Chambre (1972)

Introduced by Lucia Aspesi

Cinema Rouge et Noir
18:30

Ten years apart, these two films approach intimacy through a resolutely cinematic lens. La Chambre, 12 mins, offers a formal study of a room, through repeated 360 pans that finally settle on a woman in bed; the filmaker herself as she listlessly devours an apple. Toute une Nuit (90 mins) offers a series of intense fragments to do with quivering, loving and sexual tension. Over the course of a hot stomy summer night, men, women, children, caught up in their desire and ready for anything, allow themselves be carried away, to the point of vertigo, by the excess of their feelings.

Chantal Akerman was born in Brussels on 6 June 1950. At the age of 15, she discovers Jean-Luc Godard’s Pierrot le Fou by chance, which inspired her to take up filmmaking. Entering the Brussels film school (INSAS) in 1967, she left straight away, rejecting the rigid framework of the school. The following year she made her first short film, Saute ma ville, first expression of a free and radical cinema. Akerman moved to New York in the early 1970s, where she discovered the experimental cinema of Jonas Mekas and Michael Snow, which had a profound influence on the films she made there (La Chambre, Hotel Monterey). On her return to Belgium, she directed Je, tu, il, elle and then raised the necessary funds to produce Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. This film about the daily life of a housewife, an essential piece of feminist cinema and presented at the Cannes Fortnight in 1975, brought her international recognition and remains a major cinematic experiment in the history of cinema, studied and admired for decades. Akerman ‘s full filmography numbers fourty odd films and has been widely acclaimed throughout the world. Akerman is considered one of the most important and influential European directors of her generation, thanks to her visionary treatment of images, time and space, and the multiple reflections that run through her films: on identity, belonging, memory, feminism, gender and sexuality.

Lucia Aspesi is a curator at Pirelli HangarBicocca, Milan, with a particular interest in the status of film and moving image in the field of contemporary art. She co-curated Trisha Baga' s solo show at Hangar Bicocca in 2020 and in 2017, she presented the first solo show in Italy by Ben Rivers at La Triennale di Milano. In 2019 she co-curated the major retrospective on Marinella Pirelli at Museo del Novecento, Milan (2019).

With thanks to Celine Brouwez and the Fondation Chantal Akerman

These films are in french only, however they are largely silent.
Tickets €4, free for students.

The Blind Owl (1992, 84' – USA) Written and directed by Reza Abdoh. Produced by Adam Soch. With Peter Jacobs, Tom Pearl, Tony Torn, Juliana Francis, Tom Fitzpatrick, Paulina Sahagun-Macias.

Cinema Rouge et Noir, Palermo

18.30-20.30

Introduced by Krist Gruijthuijsen and Adam Soch

A polymath and self-described member of “a TV generation,” pioneering Iranian-American theater artist Reza Abdoh voraciously incorporated varied references to music videos, variety shows, film, dance, classical texts, BDSM, and more into his work, with equal parts poetry and rigor. Moving images played an essential role in the artist’s large-scale, interdisciplinary productions beginning in the mid-1980s. In his final working years he also turned to the cinematic form; his second feature remained unfinished at the time of his 1995 death from AIDS-related complications

Filmed in parallel with his raging, maximalist stage production Bogeyman (and including many of the same actors), Reza Abdoh’s sole feature film demonstrates an aesthetic vision distinct from his onstage work. Robert Bresson’s 1959 film Pickpocket is prominent among the influences on The Blind Owl, as much for its radically slowed-down cinematography and detached treatment of plot as for its overlapping themes of obsession, transgression, and eroticism. Abdoh’s film loosely follows a group of characters whose activities—among them caregiver, mortician, and prostitute—exist within a disorienting amalgam of illness, companionship, abuse, family, death, and sex. The intertwining narrative threads build a poetic, if ambivalent, study, in which the sorting out of identity and desire coexists with stagnation and mortality. While the film contrasts with Abdoh’s theatrical style, music remains as a marker of rhythm (and the use of Spanish-language songs also reflects the Los Angeles surroundings). The Blind Owl fits into a tradition of independent cinema rooted in 1980s performance culture, and is exemplary of the shift from analog film to video. Auspicious and unique in Abdoh’s body of work, the film poignantly points to an accomplished filmography that might have been (Moma).

Krist Gruijthuijsen was director of KW Institute for Contemporary Art from 2016 - 2023, where in collaboration with Bidoun Magazine, he curated a major retrospective of Reza Abdoh's work.

Adam Soch was Reza Abdoh's producer and the two collaborated frequently, with Soch designing projections for The Hip-Hop Waltz of Eurydice, Bogeyman, The Law of Remains, Tight Right White, and Quotations from a Ruined City. Soch is author of the 2015 documentary: Reza Abdoh, Theatre Visionary

Tickets €4, Free for students

Thanks to Negar Azimi and Bidoun

Guillaume Cailleau and Ben Russell's Direct Action

212 mins / 2024 / French, Moroccan, Arabic, English spoken / Italian subtitles

Cinema Rouge et Noir
6.30–10.30pm

Tickets 4€

With an introduction by Bianca Bozzeda

Direct action is a strategy of protest that refers to when activists use immediate, non-mediated and hands-on methods to achieve a goal, such as public demonstrations and strikes. For DIRECT ACTION, (CINÉMA DU RÉEL GRAND PRIX 2024 and BERLINALE ENCOUTERS WINNER 2024) filmmakers Ben Russell and Guillaume Cailleau spent two years following a militant activist community known as ZAD, based in Notre-Dame-des-Landes, France. Made up of squatters, anarchists and farmers, ZAD – which translates as 'Zone of Defence' – come together to occupy land and block development projects, working towards a broader revolutionary vision of living in a way that addresses the climate crisis. Composed of forty-one long takes and filmed over the course of two years, DIRECT ACTION takes the time to quietly assemble a powerful portrait of the movement, and the people involved through images of communal living, collective farming and eating.

Ben Russell—filmmaker, artist, curator—challenges conventions of documentary representation from within to produce intense, hypnotic, and, at times, hallucinating experiences. His curatorial work follows his filmmaking, which unfolds between experimental cinema and a form of speculative ethnography; he calls it 'psychedelic ethnography.' He is currently in residency at Villa Medici, Rome.

Guillaume Cailleau lives and works as an artist in Berlin and locates himself artistically at the intersection of film installation, performance and sound art, which he likes to combine in expansive installations. Cailleau observes where it is politically and socially disruptive: an animal testing lab, a banknote printing plant, or a military uniform factory. Using various media techniques, he works his material to abstraction. At the same time, he captures the research process in the material, shifting the levels of meaning. The forms of his installations then relate directly to their subjects.

This event is supported by Goethe-Institut Palermo.

A Sunday morning screening curated and introduced by Elena Gorfinkel with films by Cecilia Mangini, Gunvor Nelson, Utako Koguchi and Tania Dinis

Cinema Rouge et Noir, 11am

Grandma’s Grammar is a programme dedicated to the figure of the grandmother, tracing her appearance in historical and contemporary cinema as a paradigm for alternative modes of storytelling. The grandmother is often present in feminist non-fiction film’s narrative of self-articulation and social structuration, even when occupying the background or resting in a corner, just out of frame. In this sense, the feminist impulse to navigate a history beyond the self has often turned to the grandmother as both ancestral figure and fount of historicity, as well as a medium of perception and a living disposition of continuation.

Programme:

Maria e i Giorni / Cecilia Mangini / 1960 / Italy / 10’ / Digital / Italian spoken, English subtitles

Cecilia Mangini’s ode to the woman she considered her godmother, Maria di Capriati, is narrated with a declaratively poetic assertion of her existential and social station in life. Capriati – an unmarried peasant who had many children out of wedlock and continued to work the land and oversee workers on a farm estate in rural Apulia – figures both a refusal to accept inutility in later life, “I’m still here, I’m still useful,” and the labours, exhaustions, and folk rituals of a province outside the onset of modernization and the reach of the “economic miracle.” Faithful to the charismatic force of Maria’s presence and the concreteness of her days and habits, Mangini bestows her maternal mentor with the potency of an irreducible, flinty alterity.

Red Shift / Gunvor Nelson / 1984 / Sweden / 50’ / 16mm / English and Swedish spoken

Oscillating between extreme proximity and distance, Red Shift is a film of domestic interiors, tactile details, and mutable intergenerational dynamics. Nelson, daughter Oona, and Oona’s grandmother, Carin Grundel, appear playing family roles. Two other actors represent a “past” of mother-daughter relations. They are tethered in a relay of extreme closeups and long shots: hands grasping and tending, creased flesh, polished silver, windowed views, resonant shards of time and memory, ritual and habit. Along with gnomic proverbs and snatches of banter, Edith Kramer is heard reading excerpts from over two decades of Calamity Jane’s late 19th century letters of regret to an estranged daughter. “The years have slipped by…” In a multivalent work of generational transmission, Jane’s lamentations yoke motherhood’s psychic freight to a vaster temporal horizon.

The Sleeping Flower / Utako Koguchi / 1991 / Japan / 7’ / 16mm / Japanese spoken, Italian subtitles

The Sleeping Flower is a diaphanous film that balances Koguchi’s quotidian conversation with her grandmother about meals and routines, as she goes about the work of dailiness, with a hauntingly playful phantasmagorical funereal performance, a fictive burial. “Close your eyes grandma. Close your eyes please,” granddaughter requests. White paper flowers fall from above, burying grandmother in a snowy blanket of ethereal tissue, encased in a gauzy cocoon. “Am I dying?… I just wonder why I live so long.” The grandmother’s visage blooms open from slumber, eyes fluttering open.

NAO SAO FAVAS, SAO FEIJOCAS / Tania Dinis / 2013 / Portugal / 10’ / Digital / Portuguese spoken

Tania Dinis’ dappled super 8mm observational sketch of her grandmother tending to her garden, planting, gathering, and feeding chickens and rabbits, is dynamized by a voice track of Esmeralda de Jesus’s reactions to her filmed likeness in dialogue with Dinis. Grandmother quips back at her own image, moving between confirmation as she asserts that burn marks are “cooks’ medals,” and dissension, “what the hell kind of idea is this?” Seeing herself through granddaughters’ eyes, in that collision between self and image, Esmeralda affirms her primacy with biting wit, but also equanimity.

Grandma’s Grammar was originally curated by Elena Gorfinkel in occasion of Open City Documentary Film Festival London, April 2024.

Revised, expanded extract from Elena Gorfinkel, “Cinema of the Grandmother,” in E. Balsom and H. Peleg eds. Feminist Worldmaking and the Moving Image. MIT Press, 2022.

Elena Gorfinkel is a film scholar and critic based in London. She is the author/editor of five books, most recently Wanda (Bloomsbury/BFI Film Classics, 2025); and The Prop, with John David Rhodes (Fordham, 2025). Her research concerns marginal and independent cinemas, including adult, experimental, & underground film, particularly from the 1960s to the present. She is Reader in Film Studies at King's College London. Prior to King's, she was Associate Professor of Art History & Film Studies at the University of Wisconsin-Milwaukee. She earned a PhD in Cinema Studies from New York University.

Film still: The Sleeping Flower (1991), Utako Koguchi

Directed by Sara Driver, 1981 (United States). Starring Suzanne Fletcher, Melody Schneider, Bea Boyle

Vini d’Oro

Reading at 5pm
Film at 7pm

A legendary, once-lost landmark of American underground cinema, Sara Driver’s first film was rediscovered in 2008 and has since taken its place as one of the key works of the No Wave filmmaking movement. Based on a story by Paul Bowles, YOU ARE NOT I takes the form of a fugue-state trance as it follows the journey of a disturbed woman (Suzanne Fletcher) who has escaped from an asylum and whose fractured mental state is reflected in the very form of the film.

The film is based on a 1948 short story by Paul Bowles, written right after the American author expatriated to Tangier. After first reading the story in 1979, Driver was, she says, “shocked and dumbfounded” and inspired to make a film of it to complete her master’s degree at NYU’s School of the Arts (renamed Tisch School of the Arts just one year later). “I did not want to interpret the story,” she has said, explaining her film’s insistent obliqueness. “I wanted to be like the reader. I wanted to keep it very true, much like the first moment when I read the story and was stunned by it.” Without securing the rights to Bowles’s story, she went ahead with the project, writing a 12-page screenplay adaptation. Accompanied by a circle of NYU film compadres, Driver filmed on location in rural New Jersey, near where she grew up, with a 16mm camera and a Nagra sound recorder. Her crew included Jim Jarmusch, working as cinematographer; Tom DiCillo as assistant camera; and Nan Goldin as still photographer.

This screening will be preceeded by a collective reading centered around the feminine gothic inspired by Clara Schulmann’s upcoming publication – Moursures. We will read texts by Anne Carson, Shulamith Firestone and Mina Harker.

The texts are mainly in Italian and English with a bit of French. Please email nuovaorfeo@gmail.com if you want to participate in the reading. Places are limited.

Clara Schulmann has been working as a contemporary art critic for over fifteen years. Her writing relates meetings, exchanges and collaborations with artists. She has taught art theory in a number of universities, including the Paris Beaux-arts. Films d’artistes, Histoires de l’art, was published in 2014 by Les Presses du réel. Her latest publication is Zizanies (Paraguay Press, 2020), a first-person narrative dedicated to women's voices.

Sara Driver (1956, USA) is an independent filmmaker who was part of the creative wave in downtown Manhattan from the late 70s to the 90s. With a bachelor’s degree in Theater and Classical Languages and a Master’s Degree in Fine Arts from the University of New york, where she taught directing, Driver rose in the cinema world when she produced two of Jim Jarmusch’s films, Permanent Vacation (1980) and Stranger Than Paradise (1984), in which she starred as well. In 1981, she directed her first film, You Are Not I , based on a short story by Paul Bowles, which earned plenty of praise and was consi dered one of the best films of the 80s by the Cahiers du Cinéma. She directed two other feature films, Sleepwalk (1986) and When Pigs Fly (1993), with presence and awards in several film festivals.

Film Still: You Are Not I, Sara Driver, 1981

Pauline Oliveros' Thirteen Changes performed by Silvia Tarozzi + Beatrice Gibson's I Hope I'm Loud When I'm Dead

Nuova Orfeo presents a concert by renowned Italian composer, violinist and improviser Silvia Tarozzi, who will perform the Thirteen Changes by the legendary Pauline Oliveros as well as some of her own songs for violin and voice. The concert will be accompanied by artist filmmaker Beatrice Gibson’s 2018 filmI Hope I’m Loud When I’m Dead.

Reframing the political moment in intimate terms, Gibson's urgent snapshot of political upheaval doubles as a document of practical resistance. Pauline Oliveros' music as well as the words of poets CAConrad and Eileen Myles imbue images of war, social unrest, and mass migration with graceful complexity.

Silvia Tarozzi is a violinist, composer and improviser. The oral transmission of music and the form created through a deep immersion into the sound are traits of her musical research and find expression in several collaborations with composers as Éliane Radigue, Pauline Oliveros, Pascale Criton, Cassandra Miller, Martin Arnold, Pierre-Yves Macé, Philip Corner.
Her projects are released by I dischi di Angelica, Unseen Worlds, New World Records, Potlatch. Her concerts have been recorded and broadcasted by BBC Radio and France Musique.
She performs regularly in festivals and venues in Europe, North America, Canada, Mexico.

Beatrice Gibson is a French-British filmmaker whose works are known for their experimental and emotive nature. Resolutely feminist in form and content, Gibson’s films explore the personal and the political, while also drawing on cult figures from experimental literature and poetry—from Kathy Acker to Gertrude Stein. Collapsing fiction and documentary, and liquefying both, Gibson’s oeuvre ranges from experimental autobiography to nocturnal thriller and cast friends and influences as their characters and co-creators. Collaboration and credit are at the heart of Gibson’s practice. Gibson is twice winner of The Tiger Award for Best Short Film Rotterdam International Film Festival, (2009 and 2013). She was the winner of the 17th Baloise Art Prize, Art Basel in 2015. She has been twice shortlisted for the The Jarman Award for Artist's film (2013 and 2019) and in 2013 she was one of four artists shortlisted for the Max Mara Art Prize for Women.

This event is co-curated with Michal Libera.

Via Antonio Gagini, 31, Palermo

8-10pm

Tickets 8€ at the door

An experimental music concert with Shakeeb Abu Hamdan + The Blackest Sea and The Third Body by Peggy Ahwesh

Officine Bellotti, Teatro - Via Gagini 31, Palermo

20:00 - 22:00

Shakeeb Abu Hamdan is a Lebanese/British musician and visual artist based in Paris. He performs with an unorthodox setup of drums, bells and cymbals which he augments and amplifies with surface transducers, microphones, pitch and rhythmic modulation effects, modified megaphones and other electronic devices. His performances unfold along loose structures that leave space for generative accidents and improvisation, responding to the instabilities of feedback manipulation and other the unpredictable interactions built into his instrumental system.

Recent exhibitions include Beirut Art Centre and Cité Internationale des Arts, Paris, residencies at EMS, Stockholm and Les Instants Chavirés, releases via Cafe OTO’s Takuroku label and Tsss Tapes.

Peggy Ahwesh's The Blackest Sea, (2016, 9 mins) + The Third Body (2007, 8mins)

The Blackest Sea has a sweet poetry about its movement, with a very emotive and dramatic soundtrack, but as it develops through the various themes it becomes strongly connected to current issues that we are dealing with today—the viability of the oceans, the man-made dilemmas of climate and the migrants who have cast their fate upon unforgiving waters. The Blackest Sea takes Ahwesh’s longstanding interest in found footage into the age of the internet and the Anthropocene, transforming animated news clips produced by the Taiwanese company TomoNews into an eerie indictment of contemporary existence and, more particularly, the circulation and consumption of images of crisis. Accompanied by the melancholic grandeur of Ellis B. Kohs’s “Passacaglia for Organ and Strings” .

"The tropes of the garden, the originary moment of self knowledge and gendered awareness of the body (what is traditionally called sin) is mimicked in the early experiments with virtual reality. The metaphors used in our cutting edge future are restagings of our cultural memory of the garden. Wonderment regarding the self in space, boundaries of the body at the edge of consciousness and the inside and outside skin of perceptual knowledge." An appropriated film, portraying the arrival of Adam and Eve to an exotic Eden, is intercut with appropriated VR videos among them a human hand shadowed by a computer-generated rendering, medical robots conducting a virtual surgery, and people dressed in headgear navigating virtual spaces. As the title suggests, cyberspace adds to the Genesis legend a third possibility, a virtual existence that challenges natural and social definitions of gender and morality. With a score by Morton Feldman

Peggy Ahwesh is an American experimental filmmaker and video artist. Born in 1954 in Canonsburg, Pennsylvania, she received her B.F.A. at Antioch College, Ohio. Retrospective exhibitions include: Girls Beware!, Whitney Museum of American Art (1997); Filmmuseum, Brussels; Anthology Film Archives, New York; Peggy’s Playhouse, Yerba Buena Center for the Arts, San Francisco; Carpenter Center for the Visual Arts, Harvard University; others. Screenings: Whitney Biennial (1991, 1995, 2002); New York Film Festival (1998, 2007); Flaherty Film Seminar (2003); Pompidou Center (2002, 2004); Berwick Film & Media Arts Festival (2017). Festivals include: Berlin; London; Cairo; Toronto; Rotterdam; and Creteil, France. Certain Women (codirected with Bobby Abate) was an official selection at the Rotterdam International Film Festival and the opening night film at the New York Underground Film Festival (2004). Other films include Martina’s Playhouse, The Deadman (codirected with Keith Sanborn), Strange Weather, and Nocturne, all in Museum of Modern Art’s permanent collection. She has received grants from Jerome and Guggenheim Foundation fellowships, Alpert Award in the Arts, New York State Council on the Arts, Art Matters. She teaches Film and Electronic Art at Bard College, New York.

Tickets, €6 euros, free for students.

Thank you Electronic Arts Intermix!

A last minute concert by Elvin Brandhi

+ A selection of video works + DJ set by A Colder Consciouness

17:30 - 21:00
Via Gangini, 59

Elvin Brandhi is an improvising lyricist, producer and sound artist, originally from Bridgend in Wales. Brandhi studied painting and drawing at the Academy of Fine Arts in Vienna. Her audio practice builds aberrant beats from field recordings, tape, vinyl, instrument and voice. Using sound and voice as an expansive language transgressing intrinsic systemics and inherited syntactical etiquettes, her live shows are unyielding bursts of erupting animation where caustic streams of consciousness cavort with restless, glitched out heaviness. Her creative momentum comprises a range of collaborations and an endless nomadism via Vienna. Kampala, Berlin, Cairo, Dakkar, Marseille and Newcastle. Brandhi has participated in numerous international festivals including CTM (Berlin), Borealis (Bergen), Kraak Festival (Brussels), Umlaut festival (Paris,) Sonic Acts (Amsterdam), and Counterflows (Glasgow). Among her stable collaborations are the low-fi noise pop duo Yeah You with her father Gustav Thomas, the interdisciplinary duo BAHK with Daniel Blumberg, the INSIN duo with Bashar Suleiman, and Bad@Maths. She released her solo EP Shelf Life (C.A.N.V.A.S), and the LPs Villaelvin (Hakuna Kulala) and Elvin Brandhi (Krai). In 2017 she was awarded the PRS Oram Award for Innovative Musicians, with a production commission at the BBC Radiophonic Workshop. In 2024 she attended a 3 day residency at London's Cafe Oto.

Event in collaboration with Civico Museo Castelbuono + Sicilia Queer

Terrazza dell’Institut Français,
Cantieri Culturali
20:00

During the late naughties Crystabel Riley toured Japan and Europe using drums, electronics and make-up in noise trio Maria and the Mirrors. This was the start of her interest in patterns on skins - human and drum. This interest in dimensional patterns existing on (and off) different surfaces has continued to evolve through exploring the idea of 'care and uncare' of the skin, self, others, and the world, across all of Crystabel's practices as an Artist (Make-up, Drum). Crystabel has been a long term collaborator of Sue Lynch as well as the London Improvisers Orchestra. She is currently working on the multi-format duo project @xcrswx with Seymour Wright. She recently played at LCMF (London Contemorary Music Festival)

Seymour Wright is a saxophonist. His work is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique ­– actual and potential. Seymour's solo music is documented on three widely-acclaimed collections – Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017). Current projects include: @xcrswx with Crystabel Riley; abaria with Ute Kanngiesser; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; GUO with Daniel Blumberg; XT with Paul Abbott; The Creaking Breeze Ensemble; a trans-atlantic duet with Andy Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne.

Flora Pitrolo is an academic and DJ. Her research investigates experimental performance and music cultures of the 1980s, with a special focus on Italy. Her latest book, Taroni-Cividin, documents the avant garde duo's performance, video and expanded cinema output from 1977-84. She is active as a DJ in multiple experimental music scenes

Mario Adamo is a Dj and sonic explorer whose work embraces ambient music with post punk roots. With a DIY approach based mostly on improvisation, sampling and sparse looping, the attempt is to dive into the unknown through atmospheric digital sounds, audio manipulations and field recordings, setting the possible ground for the appearance of musical. Mario’s latest works include audio-visual collaborations with Landescape 2015, Ortigia Sound System Festival, Wesh Studio & Maat Festival.

@xcrswx created the soundtrack for Dreaming Alcestis, a hologpaphic installation, co-directed by Beatrice Gibson and Nick Gordon, co written by Maria Nadotti and produced by Okta Film. Dreaming Alcestis is commissioned by the Museo Civico of Castelbuono and Hayward Gallery Touring for British Art Show 9, and supported by the Italian Council (X Edizione 2021), Direzione Generale Creatività Contemporanea del Ministero della Cultura.

The exhibition Dreaming Alcestis, at Museo Castelbuono is curated by Laura Barreca and runs through 10.11.2023.

This event is promoted by Civico Museo Castelbuono in collaboration with Sicilia Queer and curated by Nuova Orfeo. It is supported by The Italian Council (2021) Direttorato generale creatività contemporanea, Ministero della cultura.

YEAH YOU Workshop + Concert
in collaboration with Radio Dopo

YEAH YOU a father daughter duo who have let music invade the family context and dismantle the family car.

Yeah you is a radical project involving: improvisation, sampling, voice, lo-fi electronics, error, collage, performance, geographical excursions, and everyday practices by Gustav Thomas and Elvin Brandhi, a father and daughter originally from Wales but citizens of the world. The duo work at the juncture between music, performance, and domestic life; transforming ordinary materials, field recordings, vocal fragments, and unexpected situations into open-ended and unstable compositions, which also address questions around identity politics. “It's about developing an approach to performance that frees it from the framework that ‘separates it from what is thought of as everyday life."

YEAH YOU will be in Palermo 1 -2 July for a workshop and concert at Radio Dopo.

The LET'S MAKE AN ALBUM workshop will focus on sampling, recording, improvisation, vocals, and collective music production using DIY techniques. Using vocal materials, field recordings everyday sounds and instruments, as well as the Brandhi’s primary tool, the Roland SP-404 sampler - participants will work together to create an album over three days, exploring mistakes, intuition, and collaboration.

This workshop is for ages 10+ and aimed at people interested in everyday sampling of sounds, particularly with the SP-404, from kids, teenagers and families to more experienced users seeking to explore Brandhi and Thomas’s workflow and approach.

More details on how to participate, times, and the full program will be available soon.

Workshop — 1 & 2 JULY
Concert — July 2nd, 9:00 PM

YEAH YOU insta

Our second 16mm Bolex camera workshop for local artists. Led by filmmaker Nick Gordon and Toronto based DOP Chris Soos (whose credits include Nina Menkes Phantom Love and the TV series Chuckie!) this is a day long workshop. We will learn the basics of the Bolex camera: daylight-loading, light metering, and variable shutter techniques. Each participant will be given a roll of 100ft film colour (3mins). After the workshop, films will be developed, scanned and sent back to each participant.

6 participants max. Cost €120
(Costs include €98 for 2k scan and development + fee for workshop leaders. Film included)

Email nuovaorfeo@gmail.com for details on how to participate.

Image: Beatrice Zerabto reading Anne Carson, B + W 16mm camera and hand development workshop, Alcamo, 2025

The first in a series of 16mm film workshops for local artists. Led by artists and filmmakers Nicola Baratto and Nick Gordon this inaugral workshop takes place within the framework of 10 Years Landescape in Alcamo, in collaboration with Kultur Ensemble, Palermo. Alongside Magdalena Mitterhofer, Nicola Baratto is one of two artists currently in residence at Kultur Ensemble. The workshop is addressed to the artists in residence at Posto Segreto, Alcamo.

The workshop is hands–on technical introduction to the 16mm Bolex camera. We will provide three cameras, ideally with two participants assigned to each camera. Each pair will share one black-and-white film roll (3 minutes). Participants will learn the basics of camera operation, loading the film, metering and exposure, understanding frame rate, shutter speed and optics, shooting and developing in the dark room. The film will be scanned at the Filmoteca Regionale Siciliana in Palermo.

Watch this space for the first Palermo edition.

On the 29th of November, we presented the first edition of Orfeo Books, a new publishing project by Nuova Orfeo that accompanies its program by exploring the relationship between experimental film, music and printed matter.

‘In Viaggio con Patrizia’ is dedicated to the work of Patrizia Vicinelli, a prolific poet and a key figure of the Italian avant-garde. It takes its title from the eponymously named film by Alberto Grifi (1964), a love diary he made with and for Patrizia - his partner throughout the 1960s. The publication includes various archive materials kindly provided by Associazione Culturale Alberto Grifi in collaboration with Lisa Andreani: typescripts, unpublished documents, parts of the poems that appear in Grifi’s film, as well as personal and private letters highlighting the role of the printed page and the relationship between text and voice in Vicinelli’s poetic output. In Viaggio con Patrizia, presents fragments of Vicinelli’s oeuvre in dialogue with materials from a new generation of contemporary Italian poets, including Allison Grimaldi Donahue, Tiziana La Melia and Murmur.

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Orfeo Books edition n.1 In Viaggio con Patrizia is published in collaboration with Associazione Culturale Alberto Grifi and printed by Nuova Orfeo in Palermo on the occasion of In Viaggio con Patrizia, an event co-curated with Lisa Andreani as part of the project ALBERTO GRIFI: CORPO COLLETTIVO.

Credits / Crediti

Texts by / Testi di Patrizia Vicinelli, Allison Grimaldi Donahue, Tiziana La Melia, Murmur

Archive materials / Materiali d’archivio Associazione Culturale Alberto Grifi Lisa Andreani

A cura di / Edited by Beatrice Gibson, Beatrice Zerbato (Nuova Orfeo)

Graphic Design Nicolò Pellarin

Logo HIT Studio, Berlin

Almanacco Murmur is a collection of poems and experiences written by 56 poets who took part in the readings and workshops of the first two years of Murmur’s work, a contemporary poetry collective founded in Milan in 2022 with the idea of reviving the art of poetry through encounters.

Murmur invites you to join this collective reading on Friday, September 5th at 5:00 PM at Palazzo Butera.

The book will be introduced by Claudio Gulli (Director of Palazzo Butera) together with Maria Luce Cacciaguerra (author and editor of the book). The event is held in collaboration with Nuova Orfeo.

Published by Paint It Black.

A lecture by Enrico Camporesi on the film archive of Centre Pompidou at CSC, Palermo

CSC, 3.30pm–5.30pm

How does one write “a history” of cinema? In 1976, the Centre Pompidou in Paris organized its first exhibition devoted to experimental film, titled Une histoire du cinéma (“A History of Cinema,” literally). Through three hundred films, made on the fringes of the industry and so-called “auteur” cinema, an alternative narrative emerged in contrast to the dominant cinematic canons. The lecture reconstructs a chapter of cultural and political history marked by controversy, symptomatic of the tumultuous relationship between the underground and the institution. Telling this particular story today, at a time when the presence of moving images within collections and exhibitions is taken for granted, helps not only to understand cinema’s arrival in the museum context but also to grasp its possible contemporary developments.

Enrico Camporesi oversees the research and documentation activities of the Musée national d’art moderne – Centre Pompidou film collection (Paris). In 2023, he co-authored (with Jonathan Pouthier) the book L’histoire d’une histoire du cinéma (Paris Expérimental-Centre Pompidou), which explores the origins of the museum’s film collection. He wrote Futurs de l’obsolescence (Éditions Mimésis, 2018), a book on the restoration of artists’ films. He recently published Read Frame Type Film (MUBI Editions, 2025) a volume on typography and the moving image, which he conceived together with Catherine de Smet and Philippe Millot.

Still: Peter Kubelka and Annette Michelson visiting the Wittgenstein House in Vienna (in Reminiscences of a Journey to Lithuania, 1971–1972, by Jonas Mekas).

​​Nuova Orfeo is an independent platform for experimental cinema and music based in Palermo, Sicily.

Focused on supporting and promoting experimental, artistic practices outside of an increasingly gentrified art world, Nuova Orfeo focuses on non-commercial non market driven experimental film and music practices with a feminist bent. Nuova Orfeo’s programming is also responsive to, and draws inspiration from, its particular geographical context and identity, ranging in scope, from excavations of historical, Italo-feminist, film and video practices to expanded explorations of contemporary, north African and Arabic audio-visual culture.

Nuova Orfeo takes its name from Palermo’s last remaining porn cinema as a symbol of rebirth of the city’s cultural life, this time in a feminist, polyphonic and radically inclusive key: flipping the idea of porn to focus on work made by and about women, non-binary, trans and queer people, migrants and people of color. From object to subject, from fetish to agent, from looked-at to looking. Our primary aim, at a local level, is granular. We want to create micro social moments, for ourselves and our community, that unite us through shared creative experience – nurturing and foregrounding relationality and human connection, by creating space for the appreciation of authentic artistic expression.

Nuova Orfeo was founded in 2021 by artist and filmmaker Beatrice Gibson with Flora Pitrolo, and Pietro Airoldi. It was produced by Stella Sideli. It is currently run by Beatrice Gibson with Beatrice Zerbato. Musical events are curated with the help of Michel Libera and Mario Adamo.

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Contact: nuovaorfeo@gmail.com