Until the end of the sea.

Phase three. Finalization.

The third phase of work helped us to draw conclusions. On the one hand the reflection on what we did and its theoretical understanding; on the other hand, the presentation of the research in different forms almost assumable to the concept of opera.


Public discussion among curators Claudio Zecchi and Paolo Mele and the artists Elena Mazzi + Rosario Sorbello; Lia Cecchin, Riccardo Giacconi + Carolina Valencia Caicedo

The extreme lands, in the specific case of Il Capo di Leuca, are as Valentino says – the fisherman interviewed by Riccardo and Carolina in the preparation of their radio documentary – the last and the first point. Depending on where you look at.

The extreme lands are a complex subject and very much close to a land of passage, in the specific case at the center of the Mediterranean, whose borders are much broader and less definable than they appear at a first sight. This openness blurs their definition and, in their marginal position, they constantly question the conventional wisdom. They are also a place of resistance, a place of radical possibilities and an extraordinary experimental laboratory in which the language is constantly renegotiated in a function aimed at creating a new horizon. The extreme lands force us to constantly reposition ourselves in relationship to the place we perform establishing so a dialectic tension with the territory and those who live it generating a plurality of perspectives of signification.


Elena Mazzi + Rosario Sorbello, En route to the south, performance,Frantoio Ipogeo “La Fadea” di Russo

Carlos Casas, Director, and visual artist talks in fact about the extreme landscapes “as places where it is still possible to experience visions that allow us to measure our limits and increase our consciousness. Places capable of notice our ignorance by helping us to broaden our capacity of understanding the world”.

If we thus assume the extreme lands as a tool per se, it is clear then that we are in the domain of risk, a domain in which it is possible to operate by fractures and discontinuity.

As already mentioned, on a strictly methodological level, the attempt was, in fact, to free the research from the moment of the production, not asking the artists for the realization of a final work – if not the contribution for the realization of a book – formally resolved. This space of freedom has paradoxically generated a sort of stumbling and, what should have only been the presentation of the research in its discursive statute, has turned into the presentation of objects (if not really artworks) potentially generative of further possibilities.


Riccardo Giacconi + Carolina Valencia Caicedo, Scarcagnuli, poster, Bar 2000

Riccardo Giacconi and Carolina Valencia Caicedo have in fact acknowledged in the Capo di Leuca the possibility to continue their long-term research on sound landscapes and oral testimonies of specific communities realizing the first part of a radio documentary titled Scarcagnuli. The radio documentary has been presented both in the form of “cinema without images”, and as a sort of “radio” event daily broadcasted for about thirty minutes at the same time at the Bar 2000.


Riccardo Giacconi + Carolina Valencia Caicedo, Scarcagnuli, Public discussion, Bar 2000

With OLGA (Outdoor Lab for Gathering the Absence), Lia has worked on the subject of memory by stressing what one has forgotten rather than about the information that has been resisted at the action of the time. Gagliano del Capo is, in fact, a village with a strong migratory past where the previous generations moving elsewhere to seek for luck and move away from a present that indicates it as a tourist destination and place of passage. Starting from this transient identity, Lia has worked on the concepts of absence, loss and therefore on the reconstruction of memories.

Both works have eventually succeeded in defining a field of relation which has emerged as a means and not as an end by making the work, as freed from an unfinalized creative activity, to emphasize the problematic dimension of the processes in their complexity.


Lia Cecchin, OLGA (Outdoor Lab for Gathering the Absence)

Lia Cecchin, OLGA (Outdoor Lab for Gathering the Absence), Identikit 



Until the end of the sea.

Phase two. Anthropic and environmental landscape.

Free the research from the moment of the production; Insisting on a radically slow time; Tracing stories and detecting possible formats – not formalized works in the strict sense of term – are just some of the conditions that have pushed the research in a trajectory that aims to shape and deepen the boundaries of a human landscape, where, so far, the core of the investigation was mainly focused on the landscape and its geographical circumstances.

In this sense, it is perhaps better to think at the word landscape from a wider perspective and talk rather of “spaces” in the plural. «[…] The territorial evidence are different and influence the artistic choices. The word “spaces”, deliberately in quotation marks, implying the environment, the landscape or the territory. These are terms that would originally have different connotations: it does not change the object of analysis, but the way of observing it, which determines the conceptual category expressed through the choice of terminology. […]» (A. Pioselli, L’arte nello spazio urbano, premessa).


Sessione di lavoro presso Lastation con Massimo Carozzi, foto credits Claudio Zecchi

Thelandscape is thus the place of both the individual and collective perception inthe “making” of a place as a “landscape” (A. Pioselli) and in this second phaseof the work the artists have been pulled towards a much wider reading throughthose tools, or viewing places, offered by professionals in different disciplines.

Startingfrom the conflictual definition of territory and community investigated withpsychologist Michele Romanelli, the gaze layed then, through an experimentaland dysfunctional methodology, on the possibility to actually identify apossible relationship between the real extreme land and the extreme dreamlikeland (Radical Intention). Here the collective work in its processualimplication, imposed in the first place the need to focus on a language thathas been constantly and radically re-negotiated as a common glossary. A totallyre-invented glossary in order to determine the place where one is located andunderstand, if and how the individual and collective emotional level can bemutually influenced in a shared condition. The result partially achieved hasbeen a map, an in-progress landscape where one, in the words of Clavino –switching the word city with the word space – «should never confuse the citywith the discourse that describes it».


Sessione di lavoro presso le grotte delle Cipolliane con Massimo Carozzi, foto credits Lia Cecchin

Riccardo Giacconi e Carolina Valencia Caicedo, sessione di registrazione, foto credits Carolina Valencia Caicedo 

The map tends indeed torelate two planes tracing the threshold of a limbo in which the emotionalaspect is constantly present. A fragile and ephemeral aspect in which the sounddimension is fully present, since the listening, and finally explored with artist Massimo Carozzi (Zimmerfrei). A dimension that contributes to furtherenlarge the plan of the survey as a tool capable of thinking the”spaces” – in both their anthropic and environmental nature – withoutimages and broaden thus by paradox, their emotional power. The sound becomeshence a tool through which approaching people (how?), collecting testimoniesand creating a common narrative that, by not giving a precise geographicalindication, moves from a particular towards a universal plan.


Riccardo Giacconi e Carolina Valencia Caicedo, sessione di registrazione, foto credits Riccardo Giacconi

RAMDOM AT PLATFORM PROJECTS IN ATHENS

Ramdom will be part of the Athens exhibition at the Platform Project. May 17-20, at stand 19.On this international occasion, we are proud to present the works of Jacopo Rinaldi (Interval) and Roberto Memoli (Verderame), two of the four residents of the project Untile the end of the sea.

Our stand includes works by Alessandro Carboni, Luca Coclite, Carlos Casas and Giuseppe De Mattia.

Check it out https://platformsproject.com/

Residency program brand new

On the basis and in continuity with the experience activated last year (2017-2018) with the participation of four artists – Simona di Meo, Roberto Memoli, Nuvola Ravera and Jacopo Rinaldi – Ramdom‘s association, winner for the second and consecutive year of the grant SIAE | Sillumina – Copia privata per i giovani, per la cultura, will develope an artist’s residency program that goes under the title Sino alla Fine del Mare. The program will see the participation of the artists’ duo Riccardo Giacconi + Carolina Valencia Caicedo and Lia Cecchin, plus Romina De Novellis and Elena Mazzi

The program will be curated by Claudio Zecchi.

The residency, in continuity with Ramdom’s research on the topic of the so-colled Extreme Lands, methodologically aims to investigate about the process as an investigative tool and place of formalization of research. The territory and its communities, main objects of this survey, will be addressed from different perspectives through the participation as tutors of some professionals in other disciplines: Dominico Licchelli (Education and Public Outreach Specialist, Osservatorio Astrofisico R.P.Feynman e Progetto POLARIS), Aria Spinelli and Maria Pecchioli (Independent researcher/curator and artist, Radical Intention); Michele Romanelli (Psychologist, Humus Interdisciplinary Residence) and Massimo Carozzi (Artist, Zimmerfrei).

Sino all Fine del Mare (2018-2019) is a project organized by Ramdom with the support of MiBACTand SIAE, within the program Sillumina – Copia privata per i giovani, per la cultura.

(Italiano) Sino alla fine del mare: le azioni e la mostra

Performative practices with Claudio Zecchi

Some pictures of the exercises developed during Claudio Zecchi’s workshop for the project Until the end of the sea – Sino alla fine del mare. The artists in residence have been introduced into Zecchi’s Performative Practices the first week of October.

Workshop Zecchi. Exercises

Fieldnotes: Roberto Memoli (2)

“Then, to think of intervening in transformative dynamics of a place presupposes the ability to understand the visible and unseen dimension of the actions that are overlapping there, of the signs that may have been integrated, deleted, partially or completely, or simply overlapped; the ability to capture, in very different contexts, the value of the measure of sings as a synthesis of the quality and incisiveness of the actions that have deposited or are going to be deposited. […]Therefore it doesn’t seem possible to think that at everyday’s transformational operations that are added, there are subtracted, or re-asembled, signs of the landscape, without reconsidering the criterion of complexity, understood also as a system and demonstration of a territorial and environmental organization that always exceed local dimension”.

Laura Zampieri,  Per un progetto nel paesaggio,   Quodlibet Studio

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“Landscape, for me, indicates that at the doors of our gaze. […] That thing we conservate in our memory after have stopped looking, that we conservate in our memory after have stopped exercising our senses within a space invested by the body.”

Gilles Clément,  Giardino, paesaggio e genio naturale,  Quodlibet

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Let’s start this time from sedimented suggestions and not from the idea of having to return something of the place to the place itself, due to that who lives in the place may knows it better than us. Creating an action that arouses curiosity. Something extraordinary and/or unusual.

Here doesn’t finished anything.

What lights up at night brings stories with itself, memories erased, voids, places to be replaced on a vast surface.

Fieldnotes: Roberto Memoli (2)

New month, new guest

Next week a new workshop coordinated by Elena Mazzi

 

Elena Mazzi was born in 1984 in Reggio Emilia (Italy). She received her BFA in 2007 in History of Art from Siena University, and her MFA in 2011 in Visual Art from IUAV, Venice University. She was selected for an exchange program at Royal Academy of Art (Konsthogskolan) of Stockholm.Her works have been displayed in many solo and collective exhibitions, among others: 16° Rome Quadriennal, GAM Turin, 14° Istanbul Biennale, 17° BJCEM Mediterranean Biennale, EGE-European Glass Experience, Fittja Pavilion at the 14° Architecture Venice Biennale, COP17 in Durban, Festival of Contemporary Art in Slovenia, Botkyrka Konsthall, Italian Institute of Culture in Brussels and Stockholm, XIV BBCC Expo in Venice, Bevilacqua La Masa Foundation.She attended different residency programs and workshops such as HIAP (FI), GuilmiArtProject (IT), Via Farini (IT), Foundation Botin (SP), Bevilacqua La Masa (IT), Future Farmers A.I.R. (USA), Fondazione Spinola Banna in Turin (IT), Dolomiti contemporanee (IT), Botkyrka Konsthall Air (SE).She is one of the finalists at Celeste Prize, Fabbri prize, Meru prize and Termoli prize and the winner of Thalie Art Foundation grant 2017, VISIO Young Talent Acquisition prize, Eneganart prize, Illy grant for Unidee, Pistoletto Foundation 2016, ntcm e l’arte 2016, m-cult media and technology program 2016, Special mention for Arte Patrimonio e diritti umani, Antworks award 2015, Sandretto Re Rebaudengo prize 2015, Lerici Foundation grant in 2012 and Movin’up Italian prize for young Italian artists abroad in 2011.In 2016-2017 she is tutor artist for Spinola Banna Fondation program in collaboration with GAM, Turin.

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