Claudio Caldini

In his second feature film, Leandro Listorti establishes a parallel between two worlds he seems to know well: that of plants and that of cinema. This delicate cinematographic work, full of beautiful images—both archival and current—gives an account of the immense work of classification and preservation, and generously invites us to think about forms of representation and memory.

A film about friendship. A portrait of Claudio Caldini.

A brief documentary focused on the history of experimental Super 8mm filmmaking. Prominent figures of the "s8" boom of the 1970s discuss their work and their first encounters with the medium.

Argentina feature film.

The life story of an artist. The fantasy of a poetic burial accompanied by friends of cinema.

"Life is a latency that as time and space becomes visible as a figure. But never eat at all, there are other possible lives. Making a life is difficult, filming the impossible itself . with this imago-auto-bio-graphy is an attempt to talk about this ambiguity, where what could be is the possibility of a memory, where what was and what was not, can be remembered in the same way, . always I lived with mixing the imagined thing is chosen in this chancy; go left on the road the other films that might have emerged" -Narcisa Hirsch

Super 8, B&W in color, approximately 25 minutes. Triple projection, sound in digital file. Music by Claudio Caldini. "Chromatic Ghosts operates through the primitive system of color photography, not to reconstruct its result but to decompose it, suggesting in the images a critique of the omnipresence of the automobile and an impossible escape into the natural world."

Film of "El Clú del Claun", directed by Claudio Caldini, which opened the show "I'll make you pay for this...!", from 1987. Shot at the Centro Parakultural, Buenos Aires, Argentina.

Super 8 film - U-MATIC Video hybrid. Music By Jorge Haro & Alejandro Fiori. 1990.

Experimental film by Claudio Caldini

"Rain is a thing that surely happens in the past" Borges

Complete version in three parts. Reconstructed from VHS transfers of the original Super-8. Music and film by Claudio Caldini, 1988.

When I first arrived in Barcelona in 1974 I decided to make a film about architect Antoni Gaudi's Park Guell. I found a film already conceived in the 1914 design; it was enough to follow the trajectories traced by Gaudi, imagine them as a labyrinth, reproduce the bursting of the mosaics through an analogous fracture of linear temporality. In the editing I tried to avoid showing passers-by. No human figure should get in the way of the appearance of that fantastic architecture. The stop-motion technique applied to the position and parameters of the camera still seems suitable for representing the undulating space of the park.

Single 8, edited in camera, 2005. Made at The Glenfiddich Distillery Artist in Residence Programme, Dufftown, Scotland. Distillery sounds recorded by Claudio Caldini with Andy Fairgrieve. Processing assisted by Martín Pavlovsky. Synth Programming by Caldini, remix assisted by Pablo Dominguez.

The filming of Ventana began as a test of the rewind and superimposition functions of the Single 8 camera: a crescendo of added layers. The space is a camera obscura in which the cameraman's movements convert a line of light into multidirectional rays. Toward the end there are up to eight unique superimpositions and single frames. The music was added in 1989, with an anaogue synthesizer and digital delay.

Aspiraciones is the beginning of a series in which Vadi-Samvadi is the second film. The grammar of Indian music suggests a micro-interval in a cinematic space-time.

Using observation as a starting point, the filmmaker constructs a dystopian science fiction chronicle in La República. Ironic observations on the trans-Platonic republic.

Made as a Visiting Artist at Liaison of Independent Filmmakers of Toronto (LIFT).

Video: Caldini, 2016.

The stone staircase of a temple in Gingee, Tamil Nadu, India, painted with geometric designs, filmed frame by frame during an ascent.

The slow rhythm of regular breathing determines an analogous rhythm in the image: the fugue of a candle flame toward a virtual infinity generated by a lens with variable focal length. Each appearance of this vector (successive fixed positions of the zoom) corresponds to an equivalent interval of darkness, an identical number of unexposed stills. An attempt at metric cinema. The position of the flame varies slightly with each successive apparition and the displacement seems to stop for just a few seconds in order to introduce alternating stills in reverse order.

A child plays on the beach; we are in home-movie territory. For years I thought I had made a film-poem, without knowing how to explain it, until Gilles Deleuze created the concept of "perception-image": A character acts on the screen and it is assumed to see the world in a certain way. But simultaneously the camera sees him, and sees his world from another point of view which thinks, reflects, and transforms the viewpoint of the character [...]. In short, perception-image finds its status, as free indirect subjective, from the moment that it reflects its content in a camera-consiousness which has become autonomous ('cinema of poetry'). (Gilles Deleuze, Cinema I: The Movement-Image).

S/T (sin título) (untitled) 2007. Super 8, Silent. Transfer by Framediscreet. Made as a Visiting Artist at Liaison of Independent Filmmakers of Toronto (LIFT). Supported by The Canada Council For The Arts.

A moving painting of a flower, which takes advantage of the metamorphosing capacity of the digital image and the flatness of electronic colour.

Second collaboration with the composers Haro/Fiori. The images refer to the crisis of the representation of reality which emerges with the mass diffusion of electronic images on television and on video in the last decade of the 20th century. The piece also illustrates the discussion relevant at the time (1991-92), and still so today, on the replacement of experimental cinema with video art. The title alludes to a quote from Heinrich Rudolf Hertz, "The consequences of images will be images of consequences."

Digital edition of the original 1993 video-tape. Dedicated to Dr. Albert Hofmann and his famous bicycle trip.

Branches, leaves, and flowers overlap and mingle. The film closes with a passage from philosopher Zhuang Zhou.

"The title (how important is a good title) is perfect because, in effect, the video is that: a promise of something that is announced and does not materialize (because the image is always "coming undone") but that has the happiness and fulfillment of imminence. And I think, now, then, in that definition of Adorno about art: "a promise of happiness". This video is a promise of happiness that is all the happier to the extent that it continually remains ahead, in the future." - David Oubiña.

Experimental short film.

Short film that shows daisies throughout the day with music as an accompaniment.