Until the end of the Sea

Phase one. Work hypothesis and methodology.

Photo courtesy Domenico Licchelli
Photo courtesy Domenico Licchelli

Until the end of the sea is a research project on the theme of the so-called Extreme Lands declined in three phases. This that has just ended, the first, is in some ways the most delicate as it was based on the need to establish coordinates and codes in a very short time that necessarily leads to forcing in the relations between the territory and its landscape both geographic and anthropological; the station as the heart of the research; and the artists that  for two weeks have lived in the station responding to the theme of the extreme acting almost as incubators of an experience that has been limited, so far, to gather information and knowledge of different nature intertwining with an extremely slow time.

A working session at Lastation with Domenico Licchelli

The moments of pause, almost declined in a leisure dimension are, in fact, in the context of a six months research project whose goal is not to produce a work but a book, as important as those of knowledge and deepening. These moments then intertwined with the everyday life and those places that feed the social relations to Gagliano del Capo; the traces left by the artists who participated in the past editions; the professionals and finally the associations that operate in the same territory.

In this phase, in fact, the high knowledge, in particular the scientific one that had as objective to mark the boundaries and to delineate the geomorphological structure of the territory and its possible implications of anthropological nature, it mingled in a almost organic way with the most varied forms of knowledge: from the one made directly through the excursions, to that of the transmission of the memory through the narrative, to the agronomic to, finally, the emotional one.

Luca Coclite design a map of the Extreme Lands through the works made by the artists that have participated in the previous editions

The territory in its vast stratigraphy has acted as a kind of platform, or rather, a complex device of traces or points so far suspended that will be finally united in a time not driven by the mechanisms of the forced production or rather in a form that, through the book, will become a sort of rhizome leaving free space to other hypotheses of work and research for the artists themselves, for Ramdom and for those artists/researchers who will come afterwards.

Exploring the territory with Association Salento Verticale

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Binds, traces, notes…

Photo curtesy Carolina Valencia Caicedo
Photo curtesy Carolina Valencia Caicedo
Photo curtesy Lia Cecchin
Photo curtesy Lia Cecchin

 

En route to the South, by Elena Mazzi and Rosario Sorbello

ARTISTS IN RESIDENCE

Work in progress for our artists! 

The project involves a specific territory – the southern Salento -, the practice of beekeeping and the phenomenon of immigration: a juxtaposition between the practice of nomadic beekeeping and the phenomenon of human migration, which has involved the entire Mediterranean area for twenty years.

You are all invited to discover their project in July 2018.

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The project is supported by SIAE “Sillumina, private copy for the youth for the culture” (Ed. 2017)

Fieldnotes: Nuvola Ravera (3)

#03 Fragments from a fragmented place

This land torments me, the stones torment me, the sea’s threat, the countryside, the voids, the courage of the silence and I torment them. But they laugh. It is a chieldhood torment, the stones are youngsters, it is a teenager world and we put the crutches on them. If is there an invisible, unmaterial or seemingly inanimate spectator, the stones in the meanwhile listen, the water applauds, the cement suports it when it doesn’t find the kind of fragile breaks, some leaf jokes, an olive tree suffers from caries.

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)

Fieldnotes: Nuvola Ravera (2)

#02 Questions for a residence

From what beginning is the political- geographical abstraction of “Lands End” considered?
Is there a predetermined center or are there static periferies?
What is insane?
What does care mean?
What is the difference between taking care and healing?
Who heals what?
Who is sick and in comparison to which kind of health?
How to stimulate attentive ability?
Esteeming a village means to have it repaired?
Is it a hostile place or the hostile is who looks at it?
To heal from what?
Is there a mistaken territory?
Is the wrong wrong?
Is it wrong to make a mistake?

 

Continue at Fieldnotes 3 Nuvola Ravera

Fieldnotes: Nuvola Ravera (1)

#01 Notes for a residence
The whole universe tries to spend the lowest energy as possible

 

 

I propose to discuss the “finis terre” or “terra estrema” topic starting from reelaborating the research methodology which was started in Venice, in Via Germinale, and that wants to rethink the environment as a living organism due to the psychic echoes. To do this I would like to make use of the support of one or more professionals with whom to establish some critical conversations. The collaboration between me and a psychoanalyst in dialogue with the territory to carry out the series of en-plen air sessions, so that considering the landscape as the patient guardian of the unconscious. It takes a long time to start. This resistance hasn’t been submitted to the character of the place recently.
Some slowdones during the research of an interlocutor with certain characteristics are making me pick up some significative elements found during my residence. Exercises, verifications and lectures go along with me while I’m trying to build a relationship with the places, the land, the space, the voids. Pretending to have already started the sessions or identifying myself in the absent analysis, I collect visual signals and suggestions.

As a result of the analysis, the intention is to overcome the possible symptomatic indication through symbolic gestures that encapsulate the meaning of what I have found.
Without the pretense of identifying myself as the curative figure and of course not the intention of propose a geographical organisms’ reform, I wish that, by the sessions, I would arrive to poetical apparitions that force the elements emerging towards a slight shift of perception, the creation of doubts, the attention’s training, the taking over of an area’s boundaries, both internal and physical.

Continua Fieldnotes 2 Nuvola Ravera

Let’s restart with Claudio Zecchi

First activity’s day with the curator Claudio Zecchi. Starting point of our discussion today are Performative Practices

Workshop Zecchi 1st day

Fieldnotes: Roberto Memoli (1)

“Water has exceptional means to satisfy its own desires: it tastes things up. They bend the edges, erode their surfaces, filtering among the strings on the road. The one who hesitates is lost.”

Luca Trevisani,  Water ikebana stories about solid & liquid things,  Humboldt Books

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Noises were out.

A mix of curiosity and fear blocked me at the entrance of that cave.

That low sound led me down.

 

Dead in the throat.

His ears sizzle and take shots.

The sounds are masked.

Liquid space.

 

The horizontal plane does not match us with the sea and the ground.

 

An intervention in space. Bringing something in context.

It is not about giving back, but giving. What can I give?

 

Ghost ships pass in invisible areas.

How can you return an invisible area?

An invisible area can be rethought through the sound side.

Sound is the element for defining a space.

 

Caves and landscapes in resonance boxes.

Fieldnotes: Roberto Memoli (1)

Fieldnotes: Simona Di Meo

Fieldnotes: Simona Di Meo (2)