pes or objects are randomly placed, those
same objects that often are the protagonists
in the films.
Clearly Anna Franceschini has an inseparable
link to cinema. As a theme and as an area of
investigation, but above all as a platform from
which to depart on an exploration of other
forms of expression and amplify the results
in more directions, avoiding any misguided
attempt at veracity, and developing multiple
narrative fantasies from which to draw in-
spiration.
Davide Giannella
77
Polistirene,
2007, minidiv, colore, suono, 12' / color, sound
prodotto da / produced by: Scuola Civica di Cinema, Televisione e Nuovi Media – Milano e / and P.A.D. - Piccolo Artigianato Digitale, Milan
Courtesy of the artist
but they are different disciplines that move
the limbs of her creation. This is how it is in
the performances, regarded as a formalized,
“ground zero,” of pictures in motion. They are
acts that need participation and that cannot
be contemplated but simply are gathered with
the eyes, stored, and re-edited through the
filter of memory in a kind of cerebral slow
motion. She also uses cinema to tell stories
and create narratives of kinetic still-lifes re-
cently built. The moving installations unfold
on projection screens whose original fun-
ction – to support and display an image – is
confirmed through use of different fabrics
like carpets or drapes on which different sha-
