033
☀ POISONED
Within the Cappella dell’Incoronazione, side space of the Contemporary Art Museum of Palermo - Museo Riso
28.12.2022
Video Giorgia Loliva
Sound Design Mario Adamo
Field Recording Simona Barbera
Research Leonardo Ruvolo and Piero Ramella
Performers Roze Paars, Livia Bertacca, Donja Kartoja, Claudia Catanzaro, Sandro Veneruso, John Bringwolves, Beatrice Zerbato, August Ibsen
Photo Adriano Lalicata
Landescape has been invited by Ortigia Sound System to design a installation for the Territory program.
Poisoned is a site-specific audiovisual installation assembled by the Landescape collective. As all the projects that Landescape delivers, Poisoned is generated by the performativity of the Landescape archive. The archive hosts documents and works, items and records of an heter ogenous community of artists and activists. Its performativity is determined by a collective agency fielded by the different knots of the network. The installation stages a series of documents that derive from the multidisciplinary research that the collective has been conducting for several years on the Bosco d'Alcamo Oriented Nature Reserve on Mount Bonifato. The research investigates survival strategies of humans and nonhu mans in the age of global warming.
Within this frame, Giorgia Loliva videos represent the performative approach that characterized the dance workshop proposed by the artist Piero Ramella during the summer 2022 for the Landescape community. “What does it mean to dance in a body that is an infinitely deep and articulated landscape? it is in a catastrophic scenario that we must invent spaces in which to live!” Starting from this perspective, Piero Ramella articulated a nomadic workshop within the ruined Sicilian landscape. From the unfinished architectures to the highway of trash, from a burnt forest to a polluted river the community looked for a space to live. Giorgia Loliva videos respond to this urgency of finding a place, a common place where to live.
With this focus in mind, the sound builds materially the needed space. This sonic architecture is projected by Mario Adamo starting from the manipulation of the field recording made by Simona Barbera. During the last summer, Simona Barbera proposed an investigation of the land scape through the use of the field recording techniques and the use of bineural microphones. During her workshop we experienced the feedback as a metaphor of the struggle we live as a community in being together. Mario Adamo manipulating and reassembling those samples morph a new memory of that habitat, of that dwelling together.
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032
☀ SA22P151MAG139
"Quello che vuoi" magazine
Presented at Sprint in Milan from 25-27.09.22 at Spazio Maiocchi
Publisher Postosegreto
Production Superagency
Art Direction Landescape
Design Wesh_Studio
Adv Greencodefarm
“I was thinking about what this magazine is about. Its materiality suggests a number of texts, adverts and images ordered into a linear path. But nothing sounds more distant from us. We are not linear, at all. Posto Segreto is a multiverse where synchronicity is a miracle. Things and people, subject and object, human and not-human. I see this magazine more as an effort to shape documents and to store them in a more coherent format.” From the editorial note by Leonardo Ruvolo
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031
☀ Contro lo Spettacolo
ℜ6 SNEM SNEM
10.08.2022 - 17.08.2022
Photo Giulia Bellè
Interview Leonardo Ruvolo
Ciao Matt,
cose semplici, com'è stato produrre a Posto Segreto? Sia in termini di processo che di risultato?
M: Mi è servito qualche giorno per ambientarmi, o più precisamente per arrivare ad un certo grado di compatibilità con il luogo.
L: Te lo ho chiesto perché qualcuno potrebbe trovarla abbastanza frammentata, ambigua, a volte ingestibile come situazione. Poco stabile in definitiva. Su vari livelli, diverse situazioni aperte contemporaneamente, persone che fanno cose diverse per motivi diversi, sei riuscito a trovare un tuo ritmo?
M: Inizialmente ho trovato dispersivo il fatto di avere persone che fanno cose diverse, che hanno orari e ritmi differenti, un disordine che in un secondo momento ho trovato stimolante. È successo tutto in modo progressivo, sono arrivato a Posto Segreto senza un’idea su quello che sarebbe successo, forse volevo solo farmi qualche giorno di mare, ma mi avete incastrato :~). Mi avete procurato il materiale, il supporto e soprattutto messo a disposizione un luogo dove lavorare. Una stalla? Una rimessa per gli attrezzi? Un laboratorio? Non lo so, però è stato come quando cammini scalzo in un pavimento pieno di frammenti e ad un certo punto qualcuno ti regala un Dyson. Quindi da lì in poi ho trovato il mio equilibrio e ho lavorato senza problemi.
L: Tutti gli artisti con cui abbiamo lavorato a Posto Segreto hanno qualcosa in comune, ti sei chiesto cosa?
M: Immagino che le persone che passano a Posto Segreto abbiano in comune l’esigenza di prendere le distanze proprio da quelle forme già plasmate che riguardano il contemporaneo. Io di sicuro ne ho sempre avuto bisogno.
L: Per come la vedo è legato alla relazione tra comfort e dis-comfort. Cioè lo dico meglio molti artisti nel contemporaneo hanno bisogno di una certa asetticità, un certo ordine, uno spazio neutro che alla fine tendono a saturare. A Posto Segreto, essendo il progetto in sè una composizione progressiva in tempo reale, come hai capito che la tua pratica avrebbe potuto trovare spazio?
M: Per quanto riguarda il mio lavoro non penso mai che sia necessario, tuttavia mi rendo conto che in molti casi può essere un mezzo per capire cosa interessa alle persone con le quali ho a che fare, quali sono i punti in comune e quali scambi possono avvenire.
L: Il muro che abbiamo fatto? Cos’è che volevo scrivere? Mi pare “contro lo spettacolo”. Poi mi è finito il nero e mi son fermato a "contro lo". Adesso a pensarci ci sta, nel senso va anche bene lo spettacolo, tu che dici?
M: Il muro che abbiamo fatto insieme mi ha gasato un sacco, è stato divertente e credo che debba esserlo sempre. Il fatto che lo spray sia finito e tu non abbia potuto completare la frase è proprio il segno che lo stavamo facendo in modo spontaneo. Tra l’altro per giuntare il mio pezzo al tuo ho aggiunto un elemento nella composizione totalmente inaspettato, che ha fatto emergere questioni come la casualità o la perdita di controllo che appartengono alla mia ricerca da molti anni. Non ho ancora capito cosa intendi per spettacolo, ma sicuramente sono contro l’intrattenimento.
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030
☀ Veglia al di là del tempo
ℜ5 Nicola Baratto and Yiannis Mouravas
17.09.2022- 30.09.2022
Installation view of Veglia al di là del tempo by Nicola Baratto & Yiannis Mouravas.
The set up was conceived as a scenography for the film “Zolfo Rosso” (Red Sulphur). For the occasion of the film, we open to the public the Chiesa San Nicolò da Bari in Alcamo.
029
☀ Veglia al di là del tempo - Vernissage
ℜ5 Nicola Baratto and Yiannis Mouravas
17.09.2022
Concert by Circular Ruins and Mario Adamo
Scenography of Zolfo Rosso by Baratto Mouravas
Costumes by Nono Leni
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028
☀ Zolfo Rosso - Research
ℜ5 Nicola Baratto and Yiannis Mouravas
03.2022- 04.2022
Nicola Baratto (IT, 1989) and Yiannis Mouravas (GR, 1986) are an artist duo based in the NL. Their collaborative work is based on Archaeodreaming, a research-based artistic practice that questions the fluidity of history via exploring the intersections of archaeology, dreaming, and myth-making. The resulting narratives are told through mixed-media installations, including films, artist books, and sculptures.
↑ Photo by Daphé Hérétakis
During the residency in Alcamo, hosted within MACA - Contemporary Art Museum Alcamo guest house, they developed an Archaeodreaming research project titled Zolfo Rosso. We guided the duo from Monreale to Segesta, from Calatafimi to Mazara del Vallo, scouting locations and meeting locals craftsmen for the production of a bed installation, as part of the scenography for Zolfo Rosso.
The film investigates the making-of a map of the known world, created in 12th century Sicily by geographer Muhammad al-Idrisi, and commissioned by Norman King of Sicily Roger II. The production will start the next September and it will end with an event within the MACA - Contemporary Art Museum Alcamo.
We met in particular the Monreale-based Tunisian master ceramist Ezzina Chokri and Alcamo-based Falegnameria Ferrantelli, carpenters for generations.
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027
✱ Party TV, live streaming. Video, sound. 18h 12"
Stress Test #2: 'Horror Vacui'
Director: Andrea Masu
Production: MACA - Museo Arte Contemporanea Alcamo
Curation: Landescape
The second Stresstest is a live stream from the MACA, live on twitch for 18 consecutive hours on 26 and 27 March 2022.
The format is intended as a role-playing game that takes place during the opening of the exhibition of Riccardo D'Avola-Corte and Natália Trejbalová and in the night that follows until dawn. The aim of the game is to survive and discover where evil resides and exorcise it or take it on.
An evil entity takes over the participants of the vernissage forcing them to perform evil acts. Those affected by the evil influence will be weak-minded people already predisposed to evil. Others more resistant to temptation will become the victims.
In the course of the day and night, scenes of terror and accidents ensue until dawn when it is discovered where the nature of evil lies.
When we opened there was only death and our ghosts. From one end of the corridor to the other, they hover five centimetres above the floor, disinterred. It is no longer a question of inlay, the shadows are back, mistakes as many as you like, it is the repulsive human behind the scenes of a collapsing opera. The centre of the set is a purulent organ, at the heart, aimed at the heart.
It is direction in the making, in the complexity of the limit. Experimenting in the laboratory with guinea pigs in the freedom of a small and loose script is the most risky trap a director can choose. It means being on a set, but also not, and so the guinea pigs do whatever the hell they like, stepping outside the boundaries but always remaining inside, carrying the unbearability of the unfolding of existence, which without artifice can only fall into error.
You see these portraits, they are already dead and they don't know it.
I forgot; the black holes in my neural networks. Every time we take a step forward, we have to forget the one before, that's just the way it is. From outside, from the screen or the windows, waiting for things to evolve. I eat your heart, I cut your throat, I shoot you in the head. These holes, wounds, call them what you will, instead retain in the walls of the removed substances, principles of liquid memory. These become red drops, making a sea within a pool.
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ℜesidents! ☀
026
☀ Il Continente Buio
ℜ4 Riccardo D'Avola-Corte and Natália Trejbalová
13.03 - 29.03.2022
Within the frame of the artistic direction of the MACA - Contemporary Art Museum of Alcamo, we invited in residency Riccardo D’Avola Corte and Natalia Trejbalova. To both, we asked to work within the Human Non Human agency; the workframe of our two years artistic direction. They both decided two work with sculpture. While Riccardo used polyurethane, found plant pieces, chains and spray paint, Natalia worked with building construction materials, chemicals, pigments and 3D printed objects. The two works have been showed within the MACA during “Il continente buio” exhibition.The exhibition presents itself as a mysterious ecosystem that rises and reveals itself towards the surface.
Letting the contradictions emerge, the shadows of a landscape that is still unexplored and alive.
Riccardo D'Avola-Corte (Gaeta, Italy, 1993) lives and works in Rome.
"My work is based on understanding the limits of coexistence, hybridisation, surrogates, the mutability of identity due to external phenomena and changing emotional turmoil. I have developed an imaginary poised between mythology and intimacy, between the misunderstandings that stories and relationships bring out. Sometimes I study the development of the darkest and deepest aspects, sometimes the contradictions and misunderstandings'.
Natália Trejbalová (Košice, Slovakia, 1989) lives and works in Milan. She has participated in various group and solo exhibitions in different institutions and spaces such as MUDAM, Luxembourg; Power Station of Arts, Shanghai; Fotomuseum Winterthur; La Quadriennale, Rome; L'Esprit Nouveau, Bologna; 35m2, Prague; PAV Turin; Regional Art Gallery Pardubice; Gossamer Fog, London; Galerie Charlot, Paris; Fondazione Pini, Milan and others. Trejbalová has been artist-in-residence at Schafhof-Europäisches Künstlerhaus Oberbayern, Freising; Kunstststiftung Baden-Württemberg, Stuttgart; AIR Futura, Prague. Her most recent solo exhibitions include Isle of the Altered Sun at Promise of Kneropy, Bratislava.
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