01-01-1960
Birthday
Capricorn
Zodiac Sign
-
Genres
0
Total Films
Also known as (male)
Milano, Italy
Place of Birth
01-01-1960
Birthday
Capricorn
Zodiac Sign
-
Genres
0
Total Films
-
Also Known As (male)
Milano, Italy
Place of Birth
actor
0 Works
producer
0 Works
director
28 Works
writer
0 Works
other
3 Works
7 Deaths of Maria Callas
A meditation on the female body as a source of both power and pain that focuses on the tragic figure of renowned American-Greek opera singer Maria Callas (1923-77), whose stunning soprano voice captivated audiences around the world in the mid-20th century while her life was wracked by scandal and personal suffering.Year:
2022
Heaven’s Gate
Creating a continuous loop through cinematic history, New York-based video artist Marco Bramilla satirizes seminal moments of the silver screen in large-scale video installation, Heaven’s Gate. Oscillating between hyper-saturated imagery, capturing the polarities of the Hollywood spectacle, the piece explores the tensions and intersections of religion, industry, and celebrity – the meteoric rise and catastrophic falls, and the loss of innocence to experience and excess.Year:
2022
The Four Temperaments
The work follows Greek philosopher Galen’s classification of four personality dispositions—sanguine, choleric, phlegmatic, and melancholic. In the film, Blanchett is seen playing four characters, each representing one of the temperaments. Denoted by color, we see the actor’s face appear on the screen bathed in yellow portraying sanguine, red for choleric, blue as melancholic, and green for phlegmatic. As Blanchett’s personalities are displayed in a series of synchronized images, she begins establishing each distinguished character.Year:
2020
Pelleas et Melisande
Work by artist Marco Brambilla.Year:
2019
Nude Descending A Staircase No. 3
3-channel high-definition video installationYear:
2019
Apollo XVIII
4K ultra-high definition, dual-screen video tile display in custom enclosureYear:
2015
Evolution Megaplex
The history of humankind is illustrated as a vast side-scrolling video mural depicting the spectacle of human conflict across time through the lens of cinema.Year:
2012
RPM
The line between man and machine is blurred in this 3D video collage. Commissioned by Ferrari S.p.A., RPM presents a compelling psychological portrait of a Formula One driver's point-of-view during a race.Year:
2011
Flashback
FLashback deals with the collective subconscious and memory using film iconography, the work is presented in a thirty-six block video matrix spanning six distinct phrases. Mirroring the arc of life, each phrase evokes specific psychological responses depending on the associations each individual makes between the video loops.Year:
2011
Ghost (Natasha Poly: Multiple Exposure)
Set against a stark, monochromatic background with a hairless Poly as the centerpiece, the video gives you an unsettling feeling that something disturbing is stirring beneath her initial placidity. Poly then takes us through a range of emotions of what can only be described as a carthartic episode before ending on the same unnerving note it began with. Brambilla composes the video brilliantly, creating mesh-like layers of Poly’s face that scatter and converge as he explores the idea of mulitplicity within the human psyche.Year:
2009
Cathedral
Cathedral was filmed at the Toronto Eaton Centre mega mall during the Christmas shopping season. Here is consumerism as spectacle: Throngs of shoppers circulate in slow motion, in superimposed and multi-layered images that transform the mall into a kaleidoscopic, hallucinatory space. The cyclical montage is inspired by the time and motion studies of Frederick Winslow Taylor and Frank Gilbreth, which date from the American industrial revolution of the late nineteenth century. The video is installed in a mirrored box, bringing the video into three dimensions and further multiplying the images.Year:
2008
Civilization
Civilization is a multi-layered tableau of interconnecting images that illustrates a contemporary, satirical take on the concepts of eternal punishment and celestial reward. More than 300 individual channels of looped video are blended into an expansive landscape that continuously scrolls upward, from the depths of hell to the gates of heaven.Year:
2008
Destricted
A compilation of erotic films intended to illuminate the points where art meets sexuality.Year:
2006
Destricted
A compilation of erotic films intended to illuminate the points where art meets sexuality.Year:
2006
Sync
'Sync' is made up of sampled images from sex scenes in mainstream and adult films. The formulaic and often derivative nature of the way this subject is interpreted in cinema is emphasised, creating a strong subliminal impression which gradually builds to a state of sensory overload. 'Sync' uses samples as short as single frames edited together to create the impression of motion. The original continuity and narrative in the source material is eliminated, and a new visual choreography emerges.Year:
2006
Sync
'Sync' is made up of sampled images from sex scenes in mainstream and adult films. The formulaic and often derivative nature of the way this subject is interpreted in cinema is emphasised, creating a strong subliminal impression which gradually builds to a state of sensory overload. 'Sync' uses samples as short as single frames edited together to create the impression of motion. The original continuity and narrative in the source material is eliminated, and a new visual choreography emerges.Year:
2006
Sea of Tranquility
In this computer-generated “time-lapse study” of the 1969 Apollo 11 moon landing, the Eagle spacecraft and the American flag planted alongside are shown as they slowly disintegrate. Beginning with the original image transmitted on television, the video compresses years into seconds, until nothing remains but a pile of rubble—a cynical commentary on the decay of American idealism from the ’60s to the present day. The sound is taken from recorded radio transmissions between mission control and the lunar base, but the dialogue has been removed; all that remains are the beeping radio carrier signals, static, and interference.Year:
2006
Sync: Watch
Sync features three screens of densely edited film footage, each organized around a different theme—fight scenes, sex scenes, and theater audiences—all progressing at the rate of 12 shots per second. Overlaying all three is a violently percussive audio montage. The result is a new visual choreography that rapidly builds to a state of sensory overload, emphasizing how viewers develop a resistance to graphic sex and brutality, both in the movies and in the news media in general. Only Syn Watch is included here, but you can find an excerpt of Sync Sex in the Destricted collection.Year:
2005
HalfLife (Surveillance Channel)
The multi-channel video installation HalfLife juxtaposes surveillance footage of video gamers in cyber-cafés playing the popular video game, ‘Counter-Strike’, with a live video feed of the game they are playing. The surveillance channel shows their expressions from the cross-hairs’ point-of-view while the game engine channel captures their virtual actions inside the game-world and presents the interplay and interactivity between both.Year:
2002
Dinotopia
After a plane crash strands two brothers on a lost continent where dinosaurs and humans live together in harmony, they disagree over escape plans. (Condensed cut of original mini-series to be a feature length as seen on Peacock).Year:
2002
Sequel
Film footage of Sylvester Stallone in Brambilla's 1993 debut feature-film, Demolition Man, is re-photographed through the gate of a 35mm projector and presented as the Sequel. The movement of the film gradually begins to slow until the light from the projector lamp begins to disintegrate the celluloid film.Year:
2001
Wall of Death
In the carnival act “Wall of Death,” first performed in the 1930s, a motorcyclist rides around the inside of a wooden drum, maintaining a delicate state of equilibrium between centrifugal force and gravity. The video is made up of a series of motion loops that become progressively shorter, creating the illusion of continuous motion: The rider is caught in a never-ending, never decelerating circle. The editing technique, inspired by the Kinetoscope films popular during the time the act was widely performed.Year:
2001
Cyclorama
Filmed in 35mm at nine revolving restaurants across North America—including ones in Seattle, Las Vegas, St. Louis, and New York—Cyclorama presents nine panoramas side by side in a cylindrical enclosure that mimics the restaurants’ architecture, creating the sense of one continuous, moving landscape. The sun rises at the same moment on each screen, erasing time zones and providing a 360-degree view of the Western horizon.Year:
1999
Gateway
Shot from the point of view of a passenger aircraft, Getaway begins with an aerial view of a generic industrial district and ends with a landing on the main runway at Los Angeles’s LAX airport. The video is presented on a small LCD screen in a plastic setting designed after a 1970s Pan Am airline tray—a relic from a time when passengers could fly in styleYear:
1999
Superstar
Inspired by Yves Klein’s Leap into the Void (1960), Superstar was commissioned by Creative Time to be presented on the Jumbotron screen in Times Square, New York City. The subject appears perpetually frozen in time while the document of the moment itself slowly descends. Filmed in a pre-Matrix era, the performance in Superstar was captured with 180 cameras mounted in a 360 degree ring that show a 1/500 second wedge of time.Year:
1999
Approach
Filmed at John F. Kennedy Airport, Approach catches passengers arriving from long-haul flights as they enter the terminal looking for contact with someone familiar. The footage was shot on camcorders equipped with telephoto lenses and the footage is slowed down to emphasize the moment of transition that each subject experiences as they arrive. The installation consists of 4 screens, with a 1-second delay between the identical images in each screen.Year:
1999
Excess Baggage
A rich brat fakes her own kidnapping, but in the process ends up locked in the trunk of a car that gets stolen.Year:
1997
Demolition Man
Simon Phoenix, a violent criminal cryogenically frozen in 1996, escapes during a parole hearing in 2032 in the utopia of San Angeles. Police are incapable of dealing with his violent ways and turn to his captor, who had also been cryogenically frozen after being wrongfully accused of killing 30 innocent people while apprehending Phoenix.Year:
1993
