Simona di Meo: “Which land is not extreme?”

The artist Simona Di Meo, selected for the artistic residence project “Until the End of the Sea”, performs works and interventions that explore interdisciplinary paths between art, landscape, society and territory. Her active work involves processes that aim to bring back the historical and emotional memory of the place, triggering mechanisms of participation and dialogue with different types of audience.

Simona tells us of her impressions on Leuca’s Head in order to de-construct the political idea of the border. In fact, in Gagliano del Capo, where the radio signal is superimposed on that of Greece and Albania, the artist seeks to link the three communities beyond political boundaries.

-After these first months of residence do you think this is an extreme land?
I don’t know if I would define it exactly like that. I have the impression that this definition is likely to fall into a somewhat exotic representation where the end index is measured primarily in relation to the presence or otherwise of people and services. But in this sense, which land is not extreme? Don’t go too far, have you ever tried to travel by public transport from one side to another in Rome, or to take a ride to any mountain village after the holiday season, as long as tourism is still there? It seems to me that we can say that this place has specifics that may not be immediately legible but that in the medium to long term can exert some influence in the lives of those who live there. For example, how you can quickly change the wind over a day or as in many places, observing the horizon of the sea this is very high, almost as you want to eat the sky.

-What are the elements that are most affecting your creative process?
In Gagliano del Capo, the radio signal often overlaps with the neighboring states of Greece and Albania, in a short circuit that symbolically deconstructs the political idea of ​​a national border. Starting from this suggestion, I would like to develop an intervention involving the connection of three communities residing in the countries located in the
the political boundary of the Italian, Greek and Albanian states, in a narrative “weaving” of personal stories and memories, which testify to the interweaving between the political history of the frontiers and the lives of the people.

-What do you mean to focus on your final restitution job?
Work takes the immaterial but dense form of a radio broadcast, a kind of audio sculpture, spread simultaneously in the three countries. The aim is to explore the concept of frontier, in contrast to the sterile aridity of the political / administrative aspect and the vibrant permeability of individual life experiences, proposing a space in which the identities converge and become syncretic.

-Three words to define these extreme lands.
Lunatic, essential, ancient.

Check Simona di Meo’s profile and her field notes.

Interview by Maria Dabén Florit


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.

Roberto Memoli: “it’s a land that lives in an specific cyclic nature”

The sound and visual artist Roberto Memoli, one of the selected artists for the residence “Until the end of the sea” (“Sino alla fine del mare”) in Gagliano del Capo (Italy) works exploring the element of the sound and reflecting about the concepts limit, economy, systems and attention to the detail. After coordinating the project “Ur.L.O -Urbino Laptop Orchestra” and participating in festivals like Robot Festival (Bologna) or Transient Festival (Paris) he has started a soloist production in uenza noise/lo and conducts projects in different creative ways adopting an actitude connected with contemporary languages.

In this period of his residence in Gagliano, describe by Roberto as “the second phase”, we have asked him some questions for knowing more about his thoughts and production during this residence experience.

-After these three months of residence, do you think that this is an extreme land?
I don’t know if this is really an extreme land; surely it’s a land that lives in an specific cyclic nature.

-Which are the elements that are influencing much more your creative process?
In my residency I lived a first open research phase closer to exploring the territory through photography, sound and dialogue with people. It was a phase devoted to the perception of the territory, where it is immediately evident a different rythm of living.

-On which aspects do you propose to focus for your final project?
During this time, that I define as a second phase – divided after the summertime – I’ve decided to focus on two different and specific topics: on the memory of a tradicion; on the landscape change.

-Three words for defining these extreme lands?
Branched / Uncertain / Transient.

Know more about Roberto Memoli and his field notes.

Interview by Maria Dabén Florit

Nuvola Ravera: “Landscape-territory limits are horizon of visions and suggestions”

The research of the artist Nuvola Ravera is inspired by the experience system referred to the biography. Her interests are connected to the reconstruction of the neglect, narrative of folklore or the habits of specific groups of people, and concentrates her work on psyche-related issues, perception, study of the dreamlike dimension of non-ordinary states through dialogue with other discipline in a continuous conflict and reestablishment between the parties and the crisis of several languages. When she talks about her project for the artistic residence “Until the end of the sea” (Sino alla fine del mare) and her experience of the territory of Leuca, the form of her speech also reflects her way of looking at what she has around.

-After these three months of residence, do you think that this is an extreme land?

Instead of extreme lands I would talk about other worlds and other ways of being there. Isaac Newton said that “what we know is a drop and that we ignore is an ocean”. We could consider the extreme as what we ignore and our center could be considered as the confort zone we are aware of.

The end idea is generally established in societies based on rules and boundaries given by hegemony that establish values from universal and self-centered claims.

The marginality condition is sometimes a psychological impasse in which it cradles, both a dominant central system that puts the margins of the entities, so much to those who feel inscribed in a state of exclusion in some places forgotten. This is to emphasize the need to familiarize with what is commonly given peripheral and to try to relieve the rhetoric and the tension of crisis and the lack of this kind of duality in which we easily lament.

-Which are the elements that are influencing much more your creative process?
Landscape-territory limits are horizon of visions and suggestions. Surrogates from the other world, stones, the lands, sea and sky, vegetation sites are constantly settling for the search for an equilibrium fit with the anthropized and the living. These elements contribute to paint a useful scene for approaching, though with a partial look at the emergence of hidden things. They are a call so that goes on into the transformation of this experience.

-On which aspects do you propose to focus for your final project?
The work is articulated in three essential phases:

1 First of all the interest is in getting out the subterranean parts of the place unconsciousness by a look that borrows the own tools of psychoanalysis in a non-linear narration.
2 By the observation of the territory are emerging fractions of joy and material and immaterial suffering to take charge through one or more symbolic actions – explosion rituals not resolved for sharing them at the public space building evocative objects.
3 Lastly to complete the cycle of exchange it is being delineate the hypothesis of a meeting in which more personalities are called to dialogue in a describing and non-didascalic manner about the territory psyche in front of an audience.

-Three words for defining these extreme lands?



+Party, “party is an excess allowed, even offered, the solemn infraction of a prohibition” Freud

Know more about Nuvola Ravera and her field notes.

Interview by Maria Dabén Florit

Jacopo Rinaldi: “The strongest impact was with the sea”

The connections between memory, forgetfulness and architecture during the communication of the knowledge is the main topic of the research of Jacopo Rinaldi, one of the four resident artists selected for the project “Until the End of the Sea” (Sino alla fine del mare), in Gagliano del Capo (Lecce, Italy). Rinaldi studied at the Accademia di Belle Arti di Roma and is a member of Mnemoscape, a research platform about memory and artistic methods linked to archive. Landscape, sea and railway are the elements that have inspired him during his residence in Gagliano.

We asked him some questions about this residence experience and his creative process.

-After these three months of residence, do you think that this is an extreme land?
It depends on what think we understand as an “extreme land”. If we speak about the perifery, maybe it’s necessary to ask ourselves about the places we consider the center. If as an “extreme land” we understand a difficult land so that I think it’s interesting to understand in comparison to which kind of standard we measure this difficulty. Surely in those geographical terms it is extreme because it is bordered by the sea.

-Which are the elements that are influencing much more your creative process?
Maybe the elements that are influencing my research are connected with different places. The strongest impact was with the sea. From the first days with Roberto we went down to the bridge that connects the banks of the gravestone in Ciolo. Then I was interested in the hypogean crushers and the railway line leading to Gagliano’s station.

-On which aspects do you propose to focus for your final project?
For the final project I would like to focus on the landscape, working from the windows of one of the trains that arrive to Gagliano’s station.

-Three words for defining these extreme lands?
-Smoke and low walls.

Know more about Jacopo Rinaldi and check his fieldnotes.

Interview by Maria Dabén Florit

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


“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


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