Yervant gianikian and angela ricci lucchine

One enters into Yervant Gianikian and Angela Ricci Lucchi’s films by means of the chemical dust (or the superficial scratches) of the images of which they are composed.

Yervant gianikian and angela ricci lucchine

Angela ricci of jersey shore

Yervant Gianikian and Angela Ricci Lucchi - documenta 14

Angela morse ricci

Angela ricci pittsburgh

Before encountering any fragment of the landscape (the Alps, the Danube, the desert) or recognizing a particular event in the frame (a military parade, a bear hunt, a surgical operation), the film’s materiality offers itself to our gaze in all its deterioration.

Lacerated by emulsions, stained, linked together, attacked by mold, tinted, and slowed down, these frames—in their projection—do not allow their material premise, their physical support to be extinguished. Rather, a display of ruins presents itself, the debris of a cinema battling against its own form of amnesia: that of the images it has produced and that of the inseparable medium onto which such images have been inscribed.

At the basis of Gianikian and Ricci Lucchi’s archaeological research is their stubborn attempt to demonstrate the bond between moderni