Statement and Bio

Danilo Torre (Catania 1978)
film editor and remix.


In 1999 starts working in the audiovisual field as an editor with the newborn digital systems. In 2003 he graduates in editing from the Centro Sperimentale di Cinematografia (Cinematography Experimental Centre) of Rome, where at the moment he teaches editing techniques, and startes working as an editor for cinema and the audiovisual industry in general.

He right away dedicates himself to cinema research and experimentation, working with analogical techniques, Super8 and film, achieving a position among the few Italian film-makers.

Since 2007 he is carrying out research on the contemporary art world, through the themes of found-footage, Remix and expanded cinema, working on the matter composing images and dragging the cinema out of the conventional cinematographic spaces.

Therefore, he is conjugating cinema and video art in order to lead them back to a language confluence.


Cinema is the tool I favor to explain myself, I grew up between old analogical machines and the new technologies and I cannot give away the old system to build new images.

Cinema and audiovisual culture are for me the main area for art works. I never understood the difference between video art and cinema, because in my opinion moving images are moving images, but during my studies I discovered that the analogical video recorders are sons of the magnetic recording sound systems, and, for this reason, the video art pioneers are very close to music artists. Nevertheless, it isn’t a good reason for not considering it cinema.

Now, currently the moving images are generally digital, cinema and video art are made of the same material (numbers), and the cinema can be an art again, therefore, we don’t need to use the term “video art” anymore.

After ten years of work in an editorial department for the Italian audiovisual and cinema industry I begun to close in on art, because I wanted to take cinema out of the traditional places, and play with moving images and projections everywhere it was possible, making it possible to talk about expanded cinema.

Working on moving images within cinema doesn’t imply only working with spaces, but also with the meaning of images. Indeed, editing a movie means playing with the meanings of images, because different image sequences give different meanings.

For example, working with historical audiovisual archives means re-interpreting and re-actualizing the past through new images which are very similar to the old but with very different meanings. It works at the same way as Ready-Made: adjusting something to a new goal.

We’ve found many terms to express such concept, as “Remix”, “Mashup”, “Cut-up”, but only the art practice can change the point of view in respect to the subject.

Remixing media is an old-new way to do.