International Videoart Festival Madrid Festival Internacional de Videoarte de Madrid New Media Festival La Neomudéjar
Synopsis: Anthropometry 154855 focuses on the process of depersonalisation that a subject undergoes when he or she is imprisoned in the taxonomic mechanism of bureaucracy. The title, that clearly recalls the anthropometry through which Yves Klein established the canon of the human proportions, immediately underlines its specific identity by adding a number to it. 154855 is a matriculation number: it is in fact the number which the director gave to the protagonist of his movie, a man whose anthropometric parameters have been catalogued throughout his life up until the archiving of his last breath. The intuition this work is based on is the image of the measuring of the human body as an allusion to the classification procedures in the field of Nazi eugenics. This image is the summary of a long reflection and of a long research in which the tales of the victims of political persecutions, the knowledge of the Nazi anthropometry and the study of the interrogation techniques manuals, which were declassified during the Nineties, merge. In the manuals there are precise directions on torture but there are no cruel scenes or brutal descriptions. Actually, what is commonly considered abominable, is the simple result of a bureaucratic and aseptic procedure. Everything is reduced to this: pain and death are only procedures. The discipline of classification, when applied to a system of social organisation, becomes an instrument of discrimination and annihilation up to the point that a man is transformed in simple numerical series. The movie displays the progressive dispossession of his identity through the collection of his anthropometric measures, of his fluids and eventually of his last breath, which is then regularly catalogued and archived. During his trial, Eichmann said that he would not have felt at ease if he had refused to do, with zeal and chronometric precision, what he had been ordered.
Bio: Marcantonio Lunardi was born in Lucca in 1968.
Since 2001 he has been working in social and political documentation in the field of Media Art, creating installations, documentaries and video-art works.
After the master’s programs at the Festival dei Popoli in Florence with Michael Glawogger, Sergei Dvortsevoy, Thomas Heis and Andrés Di Tella, he began a path in the cinema of moving images, experimenting with languages at the border between the cinema of the real and the video-art. His works have been screened in some eminent international institutions. He also appeared in many other festivals of experimental cinema and video-art.
He currently lives and works in the mountain village of Bagni di Lucca, about 25 km far from Lucca, in Italy.