Experiencing Interruptions?

SOMETIMES DRUGS ALSO DO MIRACLES

The action, sometimes even drugs work wonders, is a walk through the shopping streets in the centre of Florence carrying an inflatable that reproduces a pharmacy sign with its writing Spiritual Pharmacy and characterised by a slight alteration of the size of a seg- ment that goes to alter its signifier, transforming it from a Greek cross to Latin cross. After a long journey, accompanied by the ordinary noises of an urban background, between the indifference and the astonishment of tourists, the stops that visually refer to the stages of a sort of post-modern via crucis, the walk thus reaches its point of arrival revealing its true nature: an expedient to be able to place the sign in front of the facade of one of Relationship between religion and science, between sistema and commodification of the spirit, but in particular on how the perception of these two worlds, distant, conflicting but always strictly complementary, changes and changes meaning over time. As Galileo said ‘Science helps to look at the sky, religion helps to achieve it’. To each his own reflection.
(Florence - Cathedral of Santa Maria del Fiore)

  • Carlo Colli
    Writer
  • Carlo Colli
    Director
  • Carlo Colli
    Producer
  • Carlo Colli
    Key Cast
  • Project Title (Original Language):
    A VOLTE ANCHE I FARMACI FANNO MIRACOLI
  • Project Type:
    Other
  • Genres:
    video art
  • Runtime:
    4 minutes 15 seconds
  • Completion Date:
    May 4, 2022
  • Production Budget:
    1,600 EUR
  • Country of Origin:
    Italy
  • Country of Filming:
    Italy
  • Language:
    Italian
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Carlo Colli

Carlo Colli was born in Ribera (Ag) in Sicily in 1968.

After completing his studies at the State Art Institute of Sciacca, he graduated from the Academy of Fine Arts in Florence, the city in which he currently lives and works.
Present in various public and private collections, since 2015 one of his works has been part of the permanent collection of the CAMUSAC Museum of Contemporary Art in Cassino.

He has participated in numerous solo and group exhibitions both in Italy and abroad, including: "Legami", Art Factory - Dynamo Art Gallery, Open day Dynamo Camp, Limestre PT (2022); "Carlo Colli, One man show. Skin e Recompose", curated by Leonardo Conti, PoliArt Contemporary gallery, BAF, Bergamo (2019); "KUNST/OFF Carlo Colli - Maurizio Savini, curated by Luca Sposato, Galleria Luisa Catucci Gallery, Berlin (2018); " L'opera libera", curated by Leonardo Conti and Claudio Tovazzi, Palazzo Libera, comune Villa Lagarina - TN - (2018); "Giuseppe Santomaso, L'astrazione emozionante - L'ultimo grande periodo 1980-1990", curated by Leonardo Conti, PoliArt contemporary gallery, Milan. Book catalogue in 120 numbered copies with a unique work by Carlo Colli dedicated to Santomaso (2017); "TAPE", curated by Luca Sposato, DieMauer contemporary art gallery, Wopart, Lugano (2017); "Profanations formelles" - carte blanche, curated by Alessandro Gallicchio, YIA #7, Paris (2016); "La Torre di Babele", curated by Pietro Gaglianò, Ex Fabbrica Lucchesi - Museo Centro per l'Arte Contemporanea Pecci, DieMauer contemporary art gallery, Prato (2016); "Vulnus et vultus", curated by Leonardo Conti and Sara Bastianini, presentation by Raffaele Tovazzi, Galleria Rovereto PoliArt Contemporary, Opificio delle Idee Rovereto (2016); "Nuove opere della collezione tra acquisizioni e proposte Omaggio ad Achille Pace", curated by Bruno Corà and Tommaso Evangelista, CAMUSAC Museo di Arte Contemporanea, Cassino (2015); "Nothing is as you see", text by Luca Sposato, DieMauer contemporary art gallery, Prato (2015); "Carte nomadi - l'indestructible caducità della pittura", curated by Leonardo Conti, PoliArt contemporary gallery, Milan (2013); "Post", critical text by Pietro Gaglianò, Galleria Zone, Florence (2011).

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Director Statement

From 2011 he began to work on a series of works such as Post, Skin, Recompose and installation interventions that, forcing the reassuring boundaries of academic languages up to zero degrees, re-found a new grammar of doing that gives an abstract and conceptual connotation to work.
His destructuring and subtractive research essentially revolves around that indissoluble and uncomfortable relationship between the unstoppable flow of time and the change in the state of things, to underline or invite reflection on that liquid, ephemeral and fleeting dimension that increasingly identifies and characterizes contemporary culture.
And here the paper, organic and perishable material, thus becomes a metaphor of the transience of our time.