SCREENING: THURSDAY, DECEMBER 5 2013 AT 6:30 P.M.
The Centre d’Art Contemporain Genève is proud to welcome artist Erion Kadilli for an evening of film projection. Kadilli will be presenting two documentaries.
Erion Kadilli, “La montagna di Nietzsche. In viaggio con Gianni Vattimo” (Nietzsche’s mountain. A journey with Gianni Vattimo), 2012. 28’
Erion Kadilli, director as well as producer of documentaries, begins his “journey through the man Vattimo” with a lecture by the theoretician of the “Weak Thought”, to then focus on more personal aspects of the author and philosopher during a series of conferences in Montenegro. Between official events and more intimate moments Gianni Vattimo speaks to the camera, revealing himself through the eyes of the director. Never questioning Vattimo on important issues, Kadilli on the contrary tries to disclose Vattimo’s thoughts and character through his every day life on the journey.
Resorting to subtle but numerous similarities of thoughts between Nietzsche and Vattimo, Kadilli created a very personal film - Vattimo is also a friend of Kadilli’s. Dialogue is almost entirely absent; Kadilli has replaced it very naturally with video and images.
Erion Kadilli, “I've been god in bosnia. Life of a mercenary man”, 2010. 80’
Through a first-person account and recourse to archive material, Erion Kadilli’s documentary traces the life of Roberto Delle Fave, known as the “red devil”, the infamous mercenary of the Balkan war in Bosnia and Croatia between 1992 and 1995. Professional mercenary, now poor and socially marginalized, Roberto Delle Fave lives from snake shows. His account is often delirious, always frightening, and some of the facts are probably false; one grasps however the reality of war, a war that he defines as “dirty”.
The film is not just a simple condemnation of war crimes, rather an existential account of a man forced by social factors in a turmoil of violence and death. From the war context the narrative on the absence of moral values shifts to our current reality, where this absence is less explicit and thus political and economical systems are maintained. In our society of the spectacle, our relation to the war – even though the conflict unfolds a few hundred kilometres away – is mediated through images authorised by the State, comforting or ironic, yet never carrying the historical truth.
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