Yves Klein and Derek Jarman drive the artist into the world of blue, of vision, of listening. Alongside them, the crucial work of Dziga Vertov and his kinoglaz. A 360-degree exploration of cinema that reconnects early cinema with digital technologies in order to produce an old and new craftsmanship of film art. A space where between expanded cinema and new formats cinema can be considered as a time art. Through the creation of a series of both acoustic and visual modules, the artist develops a series of performances, released each time in a different form. Buildings and rooms are inhabited by cinema, which is produced in real time during the performance, in front of the audience.

The process described by the artist: “In the days leading up to the performance – or even on the same day – I move through the city where the event will take place, digitally recording both sounds and images, which are then edited in real time using laptops. These elements become part of the evening’s performance materials, interacting with pre-existing, post-produced content that forms the structural framework of the piece. Filming on location means involving both places and people.”

Innovative electronica, cities, soundscapes, and sampling serve as basic practices. The project proceeds by accumulating materials and combining fiction cinema with documentary and architectural/urban explorations. During the performance, materials are mixed live. A live cinema which returns to the emotion of “pre-cinema” made from the camera obscura and laterna magica in the spirit of Athanasius Kircher’s fascination with visionary technologies. The artist plays with expressions and concepts from the Linux programming world (release, open source) and, at the same time, from music (version, remix). This is Blue Stories.