Animating Principles

Diego Marcon, Krapfen (Gloves), 2025. © Diego Marcon. Courtesy Diego Marcon. Photo: Brigida Brancale. Diego Marcon, Krapfen (Gloves), 2025. © Diego Marcon. Courtesy Diego Marcon. Photo: Brigida Brancale. Diego Marcon’s new film Krapfen merges traditional and digital filmmaking methods and takes some of its cues from the golden age of animation in the early 20th century before the ascendency of television. It’s also a dynamic exercise in movement, music, and tone. For this discussion, two people from different fields share their insights about Marcon’s exhibition and their perspectives on his larger body of work, before joining each other in conversation. Michele D’Aurizio is a writer, curator, art historian, and the former editor-in-chief of the magazine Flash Art. Now a PhD candidate at the University of California, Berkeley, he has previously written about Marcon’s films and explored how his filmmaking process becomes a way to build communities. Daniel Morgan is a professor in the Department of Cinema and Media Studies at the University of Chicago whose work focuses largely on the intersection between cinema and aesthetics. He has written extensively on animation, questions of film style, the history of film theory and philosophy, and many other subjects.