It all started with the notorious Buñuelian sliced eyeball, that surprises us every time. The eye of an ox, but still it’s the eye of a woman! The anxiety of the incision is transformed into a saccadic, uncontrolled anxiety precisely of the eye and of its pupil. When subjected to the stroboscopic rhythms of single frame animation—as in some archaic pre-animation—one’s gaze at it is thrown off, going in search of a little dramatic action here and there in the face, through the quick cinematic nonsense of saucers and sclera. The eye of an ox, which degenerates in Buñuel’s incision, is my own quaking ox eye. —paologioli.it
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
like, isn't the eye the most assaulted human organ in our age? and if external demand fashions an organ, i wonder if this will trigger some new type of evolution, one in which image as sign, as something that stands for something, will no longer exist, an ocean of floating signifiers that have their relation to the signifieds slowly slowly erased, glittering signals whose only reference is the projected image.