{"id":10085,"date":"2026-04-27T16:04:55","date_gmt":"2026-04-27T14:04:55","guid":{"rendered":"https:\/\/unarchivefest.it\/?post_type=portfolio&p=10085"},"modified":"2026-05-19T11:06:11","modified_gmt":"2026-05-19T09:06:11","slug":"the-world-is-open-2","status":"publish","type":"portfolio","link":"https:\/\/unarchivefest.it\/en\/eventi\/the-world-is-open-2\/","title":{"rendered":"Requiem"},"content":{"rendered":"

[vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”115430″][vc_column width=”1\/1″][vc_single_image media=”10090″ media_width_percent=”100″ uncode_shortcode_id=”156651″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”0″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”160219″][vc_column column_width_percent=”100″ gutter_size=”0″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”161727″][vc_custom_heading uncode_shortcode_id=”163555″]<\/p>\n

UnArchive \/\/ Expanded<\/h6>\n

[\/vc_custom_heading][vc_custom_heading auto_text=”yes” text_color=”accent” uncode_shortcode_id=”154688″ text_color_type=”uncode-palette”][\/vc_custom_heading][vc_column_text uncode_shortcode_id=”606102″]Jonas Mekas<\/strong> \/ USA \/ 2024 \/ 84′[\/vc_column_text][vc_empty_space empty_h=”2″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_column_text uncode_shortcode_id=”111203″]With the support of <\/em>Programma Cultura Lituana in Italia 2025\u20132026 realizzato dall\u2019Istituto di Cultura Lituano e dall\u2019Ambasciata della Repubblica di Lituania nella Repubblica Italiana<\/p>\n

In partnership with<\/em> Zalib[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text uncode_shortcode_id=”113346″]SANTA DOROTEA CHURCH – May 30, 7:30 p.m.<\/strong><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”1″ bottom_padding=”1″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”183712″][vc_column width=”1\/1″][vc_column_text uncode_shortcode_id=”651564″]<\/p>\n

Inspired by Giuseppe Verdi’s Requiem<\/em>, Jonas Mekas’ Requiem<\/em> is a work that explores the theme of death and memory through a poetic and intimate lens. Made in 2019 (shortly before its author’s passing), the film combines powerful visual images and an editing that reflects grief and loss. Mekas, a legendary figure in avant-garde cinema, uses his experimental approach to filmmaking to create a personal and universal reflection on the end of life, celebrating the memory of those who have passed. A cinematic tribute that fits into the broader context of his artistic research on the impermanence of time and existence.<\/p>\n

[\/vc_column_text][vc_empty_space empty_h=”2″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”0″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”160219″][vc_column column_width_percent=”100″ gutter_size=”0″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”161727″][vc_empty_space empty_h=”2″][vc_column_text uncode_shortcode_id=”125772″]Book presentation <\/b><\/p>\n

Scrapbook degli anni \u201960. Scritti 1954-2010<\/em>\u00a0by Jonas Mekas translated by Tiziana Lo Porto and Giuseppe Lucchesini and introduced by Pier Giovanni Adamo (Quodlibet, 2026).[\/vc_column_text][vc_empty_space empty_h=”2″][\/vc_column][vc_column width=”1\/2″][vc_empty_space empty_h=”2″][vc_column_text uncode_shortcode_id=”133861″]ZALIB – May 30, 6 p.m.<\/strong><\/span><\/p>\n

with Sebastian Mekas, Pier Giovanni Adamo<\/strong><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”1″ bottom_padding=”1″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”183712″][vc_column width=”1\/2″][vc_column_text uncode_shortcode_id=”161804″]<\/p>\n

The Scrapbook<\/em> is the fundamental trace of Mekas’s commitment, which lasted throughout the twentieth century and beyond, to modern absolument<\/em> art. Contaminating autobiography by fragments and criticism of culture, this collection of writings is the most direct testimony to his positions and passions, and reads like a guide to that season of harmonic perversion and feverish creativity that was the 1960s in New York. One encounters in the book, made up mostly of out-takes, the protagonists of New American Cinema, such as Stan Brakhage, Maya Deren, Ken Jacobs, Jack Smith, and its precursors Joseph Cornell, Kenneth Anger, and Jean Genet; artists associated with the Fluxus community, such as John Cage, Y\u014dko Ono, Nam June Paik, and Hermann Nitsch; to Mekas’ best friends, including Andy Warhol and Allen Ginsberg. All of these figures return in this “scrapbook” collected from 1954 to 2010, a notebook set up by Mekas himself with edited texts and numerous unpublished ones: diary pages, theater reviews, essays, notes on dance and notes on photography, militant interventions, conversations-most notably the two with Susan Sontag (1969, 1994), and the one with Pasolini in ’67, when Mekas toured Italy carrying the Avant-Garde Film Travelling Library.<\/p>\n

[\/vc_column_text][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_empty_space empty_h=”2″][\/vc_column][vc_column width=”1\/2″][vc_single_image media=”10221″ media_width_percent=”73″ uncode_shortcode_id=”567030″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”1″ bottom_padding=”1″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”183712″][vc_column width=”1\/1″][vc_column_text uncode_shortcode_id=”726838″]<\/p>\n

Jonas Mekas<\/strong><\/p>\n

Jonas Mekas (Semeni\u0161kiai, 1922 – New York, 2019) did not consider himself a filmmaker – “I do not make films. I just film” – rather he liked to call himself a “filmer,” a “filmmaker.” Having emigrated to Brooklyn from Lithuania in 1949 with his brother Adolfas, Mekas created, with his diary films<\/i>, a language rooted in the concreteness shared by life and cinema, revolutionizing the experience of remembering through images. The titles of his films are proof of this: Walden<\/i> (1969), Lost, Lost, Lost<\/i> (1976), He Stands in a Desert Counting the Seconds of His Life<\/i> (1985), As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty<\/i> (2000) and all the others. Founder of “Film Culture” magazine, first director of the Film-Makers’ Cooperative, animator of the Anthology Film Archives, Mekas was the lyrical pioneer of underground cinema and the dogged protector of the American avant-garde. From his black-and-white debut with Guns of the Trees<\/i> (1961) to the testamentary Requiem<\/i> (2019), Mekas’ work on film and video has involved every moment and every aspect of his personal history, including his work as a critic, without ever distinguishing it from the collective present of the United States. So much so that the FBI went so far as to suspect him of anti-American activities for filming The Brig<\/i> (1964), a reportage of the Living Theatre play of the same name set in a Marine prison.[\/vc_column_text][vc_empty_space empty_h=”2″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Jonas Mekas \/ USA \/ 2019 \/ 84′<\/p>\n","protected":false},"author":1,"featured_media":10090,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"portfolio_category":[111],"class_list":["post-10085","portfolio","type-portfolio","status-publish","has-post-thumbnail","hentry","portfolio_category-expanded-2026"],"_links":{"self":[{"href":"https:\/\/unarchivefest.it\/en\/wp-json\/wp\/v2\/portfolio\/10085","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/unarchivefest.it\/en\/wp-json\/wp\/v2\/portfolio"}],"about":[{"href":"https:\/\/unarchivefest.it\/en\/wp-json\/wp\/v2\/types\/portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/unarchivefest.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/unarchivefest.it\/en\/wp-json\/wp\/v2\/comments?post=10085"}],"version-history":[{"count":9,"href":"https:\/\/unarchivefest.it\/en\/wp-json\/wp\/v2\/portfolio\/10085\/revisions"}],"predecessor-version":[{"id":11662,"href":"https:\/\/unarchivefest.it\/en\/wp-json\/wp\/v2\/portfolio\/10085\/revisions\/11662"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/unarchivefest.it\/en\/wp-json\/wp\/v2\/media\/10090"}],"wp:attachment":[{"href":"https:\/\/unarchivefest.it\/en\/wp-json\/wp\/v2\/media?parent=10085"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/unarchivefest.it\/en\/wp-json\/wp\/v2\/portfolio_category?post=10085"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}