Gioli has made several pin-hole motion picture cameras since the early 1970s, and indeed, he has been working on his great masterpiece of pin-hole cinema, Pinhole Film (Man without a Movie Camera), on and off since 1973. Pinhole Film is made with a very unusual camera fashioned from a 1 1/2 foot-long rectangular tube whose entire length has been perforated with pin-hole apertures along one side, such that multiple exposures can be made on lengths of 16mm film that pass through the tube between a film cartridge at the top and a take-up reel at the bottom. With this device, Gioli says, he “explores” what is in front of him, recording the world without the interference of optical lenses, and without the imposition of a single, stable perspective. Moreover, since the stenopeic camera lacks the usual shutter mechanism, using only a hinged door operated by hand to control exposure times, there are no frame-lines. (This suppression of the frame-line is also found in other films, such as Filmfinish (1989) and Images Overtaken by Duchamp’s Wheel (1994), made with either shutter-less cameras or with external shutter devices). Given the rudimentary nature of the shutter device on his pinhole camera, the exposures on the film strip—according to my count, each exposure of a length of 16mm film in Pinhole Film created 47 frames, or just over two seconds of projected image at 18fps—merge together in diffused lap-dissolves of very simple images of windows, bodies, household objects, tree and plants, that are remarkable for their auroral beauty. The irregular dimensions of the apertures, the slight variations in the distance between apertures and in the length of exposure, all combine to lend Gioli’s images their fragile intensity. This strong sense of fragility is heightened all the more by the occasional flash of light leaks that threaten the image with obliteration. The vulnerability of Gioli’s images, produced by the direct exposure of film to the artist’s surroundings, communicates an experience of a world of tremendous energetic intensity—an intensity that Gioli’s celluloid, like his eyes, can apprehend and “capture” but only at its own peril. —Patrick Rumble, thefreelibrary.com
Paolo Gioli was born in Sarzano (Rovigo) on October 12, 1942. Beginning in 1960 he centered his artistic activities in Venice where he attended the Scuola Libera del Nudo, part of the Accademia di Belle Arti. In 1967, he travelled to New York, where he received a study grant from the John Cabot Foundation and met gallerists Leo Castelli and Martha Jackson. In New York he would also discover the “New American Cinema.” In 1968, he returned to Italy. Starting in 1970, he would center his activities around Rome, where he came into contact with the Cooperativa Cinema Indipendente. Moving between Rovigo and Rome, he would produce his first films, that he would develop himself using his movie camera as a laboratory, following in the footsteps of the Lumière brothers. In 1976, he moved to Milan, where besides working in cinema, he would make sustained investigations of photography. And from the beginning of the 1980s, Gioli would receive his first important recognition for his activities in… read more