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• NOWHERE

  BY NICOLA FORNONI

  An abandoned NATO base built during the Cold War on a mountain pass linking three valleys to each other in north Italy. Old business lines, passageways and other morphological peculiarities. Sound waves, cymbal vibrations and fake animal puppies mark an imaginary sense of the time passing. The landscapes around take on ascetic and fleeting colours. Those zones that were once controlled from now on are a way out. The senses conjugate an escape trajectory from the body to the sky. The video consists of three chapters. Each of them begins with a description of emotions. The story develops through symbols concerning identity, presence, existence and condition. Documentary scenes alternate with anatomical frames. Keeping direction straight on, the protagonist discovers new territories—nowhere is everywhere. He trespasses and tracks them down with his orthopaedic devices, migrating from a tunnel’s darkness to the light, like a miner who reaches the surface after spending endless moments in the depths of the earth where the rumble of metal makes its way through the rocks.
• I’M HERE

  BY Franko B

  Using innovative body mapping techniques of a film made up of thousands of found images, Franko B revisits his seminal bloodletting works for the first time in his practice. Each cut challenging the audience to confront their own history, a global history of war, abandonment, homophobia, freedom, displacement, famine and sex. In I’m Here, present but disembodied, Franko B provides a portrait of our failing society. As the artist bleeds for a world that is hemorrhaging to death, pain and nostalgia emit to expose how Franko B became who he is amongst all of the shit. “Every day I’m trying to make sense of my extended time here. The past is part of our present. It never left us but is evolving rather than repeating; it is continuing to allow us to make the same mistakes. I believe this is valid for both the personal and the political. I'm Here is trying to express these two connected worlds. It doesn’t revisit the past romantically or melancholically in the context of our political and social histories but questions and reinterprets it.” – Franko B
• (A)MARE CONCHIGLIE

  BY Kyrahm and Julia Pietrangeli

  Nettuno (Rome, IT), July 3, 2015. It’s almost the sunset at the beach that used to be the theatre of war during the dramatic landing of Anzio and Nettuno during World War II. A long white table waits in the sea; a rubber boat lands on the shore. The passengers join the banquet: an aged man, two young women and a few African men. They took their seat in front of a small and curious crowd. Each of the guests tells his odyssey. The African refugees share the stories of their long journey to escape from the unbearable living conditions in Nigeria, where they lost their relatives in violent criminal attacks, then to get to Libya, where they experienced the miserable conditions of the war and the underground prison detention. The lovely elder from Sardinia tells about his experience as an immigrant to Germany. He recounts the time when the Italians used to travel in masses after the last war, flooding the train stations with their cardboard luggage; a similar scenario recalling the past century exodus when the Italians used to embark to America. The story of the young woman born from a Sicilian mother and an African father reveals peculiar mixtures between different cultures in an unusual family story torn between dishonour and love. At the end of the feast, everybody takes part in the ritual of the salt thrown in the sea. To remember the sisters and the brothers that couldn’t make it, and to restore the sea in the sea. This performance, documented live, involved elderly Italian migrants and refugees recently arriving in Italy willing to share their stories to the casual audience of the beach.