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.
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.
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 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.
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.