Briefly, very briefly.

We started by digitizing hundreds of hours, detecting a huge quantity of images, words, situations, people, places. The egh archive is a rare thing, dispersed and dispersive, we talk about it it in a text, the TractatusTreatment.

Tuning in was enough. Irony, sarcasm, mastery of overturning, silences, laughter. The afternoons in the living room of Ghezzi’s house fanned out. Brief words, somersaults, jokes, boundless openings. Let’s do it.


So the second move was to invent a machine. A sort of archive mixer. It’s called The machine that captures excess.

– Enrico, what do you think?
– It’s what I’ve always wanted to do.
– Ah! Are you too coming for a few days?
– I’d come every day.

And so it was.

It was June and we had a lot of fun, uncovered, came closer. Analogies, leaps in time.

The archive has grown by about 200 hours (assembling a machine with pieces in warehouses for 20 years): we produced excess!

We’re good at exceeding, Enrico says.

The orchestral and choral and simultaneous device that is the Machine has given us a precise demonstration of having begun to germinate. One cannot go back, one can no longer ignore that beauty of the ensemble, that whole and nothing together, that «It can be done, but it can also not be done». Thus the- eccedance -is revealed, along with the idea of ​​bringing up an editorial team. The practice of excess, in the ambivalent generation of surplus and scrap, has found an opportunity to suggest a dance, a new urgency of immediacy and risk, of error and endurance, of skill and courage, of external and intimacy.


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