Busto Arsizio, 1985
Lives in Milan
The work of Diego Marcon focuses on a filmic exploration of a number of archetypal figures and topoi. Childhood emerges as a visual device for investigating the world because of its ambiguous nature, which allows for both a sentimental and an opaque point of view.
This opacity of vision guides the exploration of Casa del Fascio in Como, which in Monelle (Naughty Girls, 2018) is staged through the alternation of appearance and disappearance of the images, a process that eliminates editing from the post-production phase of the film and fragments the spectator’s spatial experience. Flashes illuminate spaces that are either empty or populated by disturbing presences, namely girls portrayed in a state of immobility and almost always asleep. The images, so abrupt and fleeting, charge the viewer with a frustration derived from the difficulty of retaining the image and the desire to question the black screen.