Stan VanDerBeek, Cine Dreams: Future Cinema of The Mind, 1972/2014

Stan VanDerBeek, Cine Dreams: Future Cinema of The Mind, 1972/2014. Simultaneous projection of 16mm film transferred to video (both color and black-and-white; both silent and sound); 35mm film transferred to video (both color and black-and-white; both silent and sound); 35mm slides transferred to digital; and handmade slides transferred to digital, dimensions variable. Image courtesy of Fondazione Nicola Trussardi, Milan, and miart 2014, Milan. Photo by Marco De Scalzi. © Estate of Peter Moore/VAGA, New York.

On Friday night at 1 a.m., when I stopped by at the Ulrico Hoepli Planetarium to see Stan VanDerBeek’s Cine Dreams: Future Cinema of The Mind (1972/2014)—an immersive installation of over 50 16mm films and slide projections presented for the first time in its entirety since its premiere—the queue outside was quite long, with sleeping bags and cushions popping out of backpacks. The obvious plan was to spend the night together, looking up at the artist’s collage of frantically moving images as a theater of our inner self. After running around all day to see artworks, my own inner self was in a similar state. Inside, a hypnotized crowd of aficionados and students from Accademia di Belle Arti di Brera and NABA–Nuova Accademia di Belle Arti (Milan’s two art academies, one public, one private) filled the wooden revolving chairs of the octagonal space, a small modernist gem designed by architect Piero Portaluppi in 1930. Over the weekend, the “Cine Dreams” cycle—produced by Fondazione Nicola Trussardi and miart—included two further evenings with Jeronimo Voss’s Eternity Through the Stars (2012) and Katie Paterson’s new work Earth-Moon-Earth (2014).

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About Sónia Pina

Investigadora em Filosofia da Comunicação, New-media, Old-media, Ontologias digitais, Fluxus, Visualismo, Info-estética (protocolos visuais da comunicação), Intermedialidades na arte;

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