Rebecca Salvadori at RALLY

The Sun Has No Shadow is an intimate visual journey across a series of raves, clubs and experimental live
performances; a personal film manifesto as well as a tribute to London. The fragmentation of the visual
experience, practices of self-observation and the tradition of portraiture are some of the reflections
surrounding Salvadori’s filmic research.

Developing further what already learned with film collection Rave Trilogy (2020), The Sun Has No Shadow goes deeper into electronic music communities giving an overarching sense of the London-context but also looking at the intimacy between the people taking part; different meta-narratives portrayed under a very subjective and intimate frame, blending together peripheral nocturnal landscapes, shots of people dancing and moments of collective catharsis with more universal reflections such as matters of general existence and vision of life.

Oscillating between being both participant and observer, Salvadori wishes to keep the individual relations at the fulcrum of this research. The film constantly shifts the relationship between different environments, subject and camera.

The montage composes the film, drawing from Salvadori’s own audio and visual recordings to animations that go under the name of euroemptiness. Born in 2012, euroemptiness is a graphic language, an ongoing archive of still and animated shapes and colours assembled together following constantly evolving combinations of intentionality. In The Sun Has No Shadow these animations act as portals towards
revelations and statements that provide further context to the work.

The film centres particularly on FOLD club and UNFOLD day rave format which puts the DJ in the middle of the dancefloor. This spatiality becomes the mark of an alternative approach to togetherness, deep physical connection and community-making All the footage is part of a large video archive of relations and
experimental music documentation that Salvadori has built over the last 10 years ( 2010-2022 ).

Tresor Tapes was commissioned by TRESOR on occasion of the show Tresor 31 Techno, Berlin
und die große Freiheit happening between the 08.07 to the 28.08.22 at Kraftwerk, Berlin.

Salvadori uses TRESOR’s extensive video and sound archives to construct a sister portrait to The
Sun Has No Shadow. Played alongside, the two films approach different ways of dealing with
personal & collective archives and memory as well as reflections around club documentation.

The Sun has no Shadow unfolds as an individual process of recomposition of the artist’s personal
archive in which her subjective struggle and affective experience operate as the film’s common
thread, combining its various parts according to her specific intentions. Contrarily, in Tresor
Tapes the artist functions more as an impersonal vector ordering diverse cinematic elements taken
from the various layers of TRESOR’s collective archive, to which multiple anonymous filmmakers
have contributed with their visual documents. As a result, while The Sun has no Shadow unfolds as
a consistent narrative intentionally developed by the artist, based on her individual memories and
experiences, Tresor Tapes emerges as a multifaceted narrative from the collective memories and
experiences of a whole community.