046
☀ Studio sulla Costruzione di un Palco
Francesca Petroni
Foyer in a Buffer Zone - Finissage
07.12.23
Curated by Landescape
Performer Francesca Petroni
Dispositivi scenografici Thomas Skiibiickii
Photo Nicola Novello
With the support of the Goethe-Institut, Creative Eu and City of Alcamo
the EU and the Goethe-Institut are not responsible for the views expressed in the publications and/or in conjunction with the activities for which the mobility support is used.
“Studio sulla costruzione di un palco” mette in scena l’urgenza dell’artista di riflettere sulla condizione attuale della produzione artistica contemporanea. La performance parla di una tensione, di una ricerca; uno studio dedicato all’attesa. Se l’attesa è il fuoriscena, il palco è l’azione. A partire dalla danza, Francesca Petroni si pone su una soglia, da sola, a chiedersi se prendere o meno la scena; il rischio che l’azione comporta, il palco. Quest'ultimo che emerge quale rete di fiducia tra tutte le componenti di una ricerca collettiva, è il centro del lavoro, sempre in scena, volume aperto alle possibilità che le relazioni tra corpo e oggetti determinano. “Studio sulla costruzione di un palco” racconta della necessità di comunicare e di esprimersi al di là dei limiti che le strutture impongono al processo creativo.
045
☀ Appetite for Transformation
ℜ9 Jojo Vavra
Foyer in a Buffer Zone
28.10.23
Curated by Landescape
Creative direction Leonardo Ruvolo
Food Jojo Vavra
Dispositivi scenografici Thomas Skiibiickii
Food stage assistant Francesca Petroni
Camera Nicola Baratto
Audio/video editing Giorgia Loliva
With the support of the Goethe-Institut, Creative Eu and City of Alcamo
the EU and the Goethe-Institut are not responsible for the views expressed in the publications and/or in conjunction with the activities for which the mobility support is used.
In essence, "Appetite for Transformation" is about the realm of the impossible, and also yet another testimony project where collective action can make the impossible possible. Proving that the impossible can become reality through both violence and miracles, "Appetite for Transformation" is a reflection on our capabilities and the alchemical processes of transforming the unattainable into tangible assets.
In the words of my favourite witch mother, Starhawk— “Another world is possible!... Another world is also necessary, for this one is unjust, unsustainable, and unsafe. It's up to us to envision, fight for, and create that world, a world of freedom, real justice, balance, and shared abundance, a world woven in a new design.”
The dinner start with boosting our appetite—with a story about the king that had lost his appetite, and went to ask the monks for help. In the monastery he received a recipe, a strange combination of flavours, which he delivered to his court to be prepared. However, after the first try, his appetite did not return. The ingredients such as almonds, anchovies, breadcrumbs and chocolate, were missing a spell. The king returned to the monastery, asking once again for help. The monks added a sentence to the recipe they had given to the king. The sentence goes more or less like this: “Walk as much as you can and earn your food with work”. The king's appetite returned.
Please enjoy the first course: Salsa di San Bernardo!
The main dish Timballo del Gattopardo.
The main course of the dinner, Il Pasticcio del Monsù, is inspired by the dish called Timballo del Principe or Timballo del Gattopardo. Inside the sweet pastry, featuring hints of love and cinnamon, you will discover the salmon of knowledge that, on its journey to Sicily, washed away its sorrows with vodka. This humble recipe, marrying the cherished fish with alcohol, unveils another layer of violence – against salmon production, against our bodies, against knowledge itself. I hope you savour it, and may this be the final dish to feature this fish.
The desert Torte di Mandorle e Olio d’Oliva
With this last course, I would like to express my love for Sicilian soil, hands and products. I do not know another place in the world where almonds taste so good and the olive oil’s green colour brings all the forest fairies to admire it. Please enjoy these sweet clouds of almonds wetted with fresh olive oil pressed by our friend Turi, scented with oranges picked by the foot of Enta and baked with the breeze of the salt water air of Alcamo Marina.
044
☀ Il Fantasma dell'Opera
ℜ8 Giuseppe Calamia
Foyer in a Buffer Zone
26.10.23
Foyer in a Buffer Zone
From an idea by: Florian Della Cortiglia, Nelo Gevers and Leonardo Ruvolo
Creative director: Leonardo Ruvolo
Assistant director: Francesco Surdi
Puppet: Florian Della Cortiglia and Francesco Surdi
Video: Giorgia Loliva
Sound: Giuseppe Calamia
Visual identity and graphics: Federico Lupo
Sculptures by Boris Granche and Elidel
With the support of the Goethe-Institut, Creative Eu and City of Alcamo
the EU and the Goethe-Institut are not responsible for the views expressed in the publications and/or in conjunction with the activities for which the mobility support is used.
Il Fantasma dell’Opera di Giuseppe Calamia parla di assenza e di presenza, di vicino e di lontano, di dentro e fuori. Non poteva essere che questa l’inaugurazione della stagione espositiva 23/2. L’esperienza sonica gratta dai muri i pezzi di pelle di corpi esplosi e dilaniati, di occhi appesi e mani mozzate, pulisce e disinetta. Con la sua chitarra, l’artista toglie lo sporco perchè le pareti non debbano ancora assorbire il sangue e la carne, ma possano finalmente esser testimoni di cose, di oggetti che brullicano e di immagini che parlano. Da una stanza remota, così l’artista ha deciso di posizionarsi. Lontano dalle pareti, ma vicino alla luce, così proiettando un’immagine immensa di corpi che danzano, che si appogiano, che scodinzolano, che guardano, che attendono.
043
☀ Foyer in a Buffer Zone
Vernissage
07.08.23
From an idea by: Florian Della Cortiglia, Nelo Gevers and Leonardo Ruvolo
Creative director: Leonardo Ruvolo
Assistant director: Francesco Surdi
Puppet: Florian Della Cortiglia and Francesco Surdi
Video: Giorgia Loliva
Sound: Giuseppe Calamia
Performance by Leonardo Ruvolo
Visual identity and graphics: Federico Lupo
Photo by Nicola Novello
With the support of the City of Alcamo
"Foyer In A Buffer Zone '' distills the collective research, situated in Sicily for ten years, into an animated sculptural body within an audiovisual environment. While the sound experience gives back the essence of a body on stage, the screen light reassures the visitor about the intimacy of a fictional experience. If audio is presence, video is absence, in the same context, but out of sync. In the liminal space between the audiovisual hallucination and the visitor's perception, the archetypal figure of the jester appears. Minstrel, one-man-show, clown, puppet, joker these characters stress the same intention, take the scene, entertain the court and the king, and come out alive.
#include <Screen.h>
#include <Jester.h>;
SKIN;
BRAIN;
VISION;
int pos = 38°00’35.8N12°57’47.0”E;
int poss = pos;
void setup()
{
FIRE.attach(9);
JESTER.attach(10);
BLUELIGHT.attach(11);
MAFIA.attach(12);
MEDICANE.attach(13);
SICILY.attach(14);
TURBOFASCISM.attach(15;)
}
void loop() {
for(pos = 0; pos < 90; pos += 1)
{
MEDICANE(pos);
delay(0);
#include <Screen.h> #include <Jester.h>
;
SKIN;
BRAIN;
VISION;
int pos = 38°00’35.8N12°57’47.0”E;
int poss = pos;
void setup()
{ FIRE.attach(9);
JESTER.attach(10);
BLUELIGHT.attach(11);
MAFIA.attach(12);
MEDICANE.attach(13);
SICILY.attach(14);
TURBOFASCISM.attach(15;)
}
void loop() {
for(pos = 0; pos < 90; pos += 1)
{
MEDICANE(pos);
delay(0)
}
for(pos = 50; pos>=1; pos-=1)
{
DROP(pos);
delay(5);
}
for(pos = 35; pos>=1; pos-=1)
{
if (MAFIA() > 0 && counter < sizeof(rxBuffer))
{
rxBuffer[counter++] = LIDO.read();
The puppet body becomes the battlefield where different agents have traced a common memory, as magnetic as the eye, as bold as the ear, as ambiguous as the tongue, as strong as the hands. Tough, tough as skin. A regressus ad infinitum, a figure between two mirrors, a feedback loop, a gash to let light in, an explosion already triggered, libidinosum corpus inhabiting a foyer, a waiting area, a buffer zone: war, wildfires, vanity of consumerism, mafia, black bodies crammed into cages, extraction of energy shape an unresolved landscape.
↑𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞 “In between me and you” text by Leonardo Ruvolo with opera by STUNC (Mattia Giordano e John Bringwolves) During XIX Giornata del Contemporaneo
✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱✱
042
☀ MONDI LONTANISSIMI - Criatur
III Chapter
09.08.23
𝒯𝒽𝑒 𝒮𝓅𝑒𝑒𝒸𝒽𝓁𝑒𝓈𝓈 𝐹𝑜𝑜𝓁𝒾𝑒𝓈 in “𝐥𝐮𝐤𝐡𝐮𝐧𝐭𝐡𝐮𝐫𝐞𝐞𝐥𝐲𝐤𝐮𝐧𝐭𝐡𝐢𝐣”
a Landescape production For Criatur Fest at Posto Segreto
The Speechless Foolies is an experimental shape shifting and ephemeral collective project. The Speechless Foolies is the name of a fellowship of artists, it’s a gathering, a multidisciplinary and multi-sensorial journey constantly evolving. Its languages are borrowed from performance, set design, music, theater, parties, happenings, dinners, publications and whatsoever and then mixed and remixed all the time differently.
𝐝𝐢𝐫𝐞𝐜𝐭𝐨𝐫 𝐚𝐧𝐝 𝐬𝐜𝐫𝐞𝐞𝐧𝐩𝐥𝐚𝐲: Alessandro Veneruso
𝐚𝐬𝐬𝐢𝐬𝐭𝐚𝐧𝐭 𝐝𝐢𝐫𝐞𝐜𝐭𝐨𝐫: Maziar Firouzi, Giorgia Loliva
𝐞𝐱𝐞𝐜𝐮𝐭𝐢𝐯𝐞 𝐩𝐫𝐨𝐝𝐮𝐜𝐞𝐫: Leonardo Ruvolo
𝐚𝐬𝐬𝐢𝐬𝐭𝐚𝐧𝐭 𝐩𝐫𝐨𝐝𝐮𝐜𝐞𝐫:Francesca Petroni, Giovanni Bozzoli, Beatrice Zerbato, Cristina Giarnecchia
𝐬𝐨𝐮𝐧𝐝 𝐚𝐧𝐝 𝐬𝐭𝐚𝐠𝐞 𝐦𝐚𝐧𝐚𝐠𝐞𝐫: Mario Adamo
𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫𝐬, 𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐚𝐧𝐝 𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞𝐬:Seifeldin Gaber in “lu magaru”, Eva Vallania + Elisa Diaferia in “heavenhell”, Sandro in “u criaturo” (with sounds effects by Polonius), Livia Bertacca in “‘u cani malirittu” (with soundtrack made by Carlotta Menozzi), Maziar Firouzi in “C’è del pianto in queste lacrime”, Leonardo Ruvolo as “the technician”, Francesca Heart et les Pléiades in “The Bubble Choir” (Les Pleiades: Siet Phorae, Ticoy Kavei, Rev 23, Polonius, Alessandro Veneruso, Livia Bertacca)
𝐥𝐢𝐯𝐞 𝐦𝐮𝐬𝐢𝐜:Polonius, Diamantista, La Festa delle Rane
𝐚𝐫𝐭𝐰𝐨𝐫𝐤𝐬: Rebecca Picci, Francesco Bonizzoni, Agata Ferrari Bravo, EmaJons, Giovanni Bosco
𝐬𝐭𝐚𝐠𝐞𝐬, 𝐩𝐫𝐨𝐩𝐬 𝐚𝐧𝐝 𝐬𝐩𝐞𝐜𝐢𝐚𝐥 𝐞𝐟𝐟𝐞𝐜𝐭𝐬: Solène Riff,Juan Antonio Maria Riccardi, Katarzyna Odo, Florian della Cortiglia, Shoshka, EmaJons
𝐜𝐨𝐬𝐭𝐮𝐦𝐞𝐬:Lauribusters (lu màgaru ), Lauribusters + Alessandro Veneruso (u criatùro), Ilaria Abo Rahmy + Giulia Del Bello (Francesca Heart et les Pléiades), Livia Bertacca + Roze Paars (u cani malirittu), Shohska (Diamantista)
𝐟𝐨𝐨𝐝 𝐚𝐧𝐝 𝐟𝐥𝐮𝐢𝐝𝐬: Greencode Farm, Francesco Stabile, Resy Ronchese, Margot Silvestrini
𝐩𝐢𝐜𝐬: Nicola Novello
𝐛𝐚𝐜𝐤𝐬𝐭𝐚𝐠𝐞 𝐩𝐢𝐜𝐬:Adriano La Licata, Beatrice Zerbato
“Lukhunthureelykunthij” is the second chapter of The Speechless foolies saga ( the first was “what lies beneath” co-produced by Frankenstein Magazine ) and since now it has always started with a proposition to perform or stage a non fixed fictional story that evolves and evokes itself within the space and the time chosen to produce it, through speeches, stories, synchronicities, invisible relations and exchange of energies and practices shared between the fellows of the gathering: “the foolies”.
The public or secret event it’s preceded usually by a residency and a variable period of pre-production.
The formats, the outputs and the roles always change based on the multi-authoriality and multidisciplinarity of the artists involved in performing the gathering together and on the space chosen to host it. The members of the gathering are recomposed each time it appears.
↑Scenes 1-2
𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞: Seifeldin Gaber in “lu magaru”
𝐬𝐭𝐨𝐫𝐲 𝐚𝐧𝐝 𝐬𝐨𝐮𝐧𝐝𝐭𝐫𝐚𝐜𝐤: Eva Vallania + Elisa Diaferia in “heavenhell”
𝐚𝐫𝐭𝐰𝐨𝐫𝐤𝐬: Rebecca Picci, Agata Ferrari Bravo
𝐜𝐨𝐬𝐭𝐮𝐦𝐞𝐬:Lauribusters (lu màgaru )
𝐬𝐭𝐚𝐠𝐞𝐬, 𝐩𝐫𝐨𝐩𝐬 𝐚𝐧𝐝 𝐬𝐩𝐞𝐜𝐢𝐚𝐥 𝐞𝐟𝐟𝐞𝐜𝐭𝐬: Florian della Cortiglia, Shoshka, Alessandro Veneruso
𝐩𝐢𝐜𝐬: Nicola Novello
𝐛𝐚𝐜𝐤𝐬𝐭𝐚𝐠𝐞 𝐩𝐢𝐜𝐬: Beatrice Zerbato
In the frame of Criatur, a residency and subsequently a music and performance festival produced by Landescape on August 2023, the Speechless Foolies set up stages from scratch and garbage, crafted magical objects, and designed performance acts, live sets and recorded storytellings. On the first day of the festival the company accompanied the audience through a long durance musical journey from Posto Segreto (Alcamo) to the free thermal baths of Segesta, crossing wheat fields, passing by cemented undergrowths and malodorous expanses,crossing blabbering tunnels adorned with symbols and traces of human and non-human love, fields of vines and cannedde,fording swamps and bubbling and regenerating waters, encountering mystical and mythological places and arcane prophecies.
↑𝗦𝗰𝗲𝗻𝗲 𝟯
𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞: Seifeldin Gaber in “lu magaru”, Sandro in "u criaturo", Maziar Firouzi and Leonardo Ruvolo as "the technicians"
𝐬𝐨𝐮𝐧𝐝 𝐞𝐟𝐟𝐞𝐜𝐭𝐬: Polonius, Alessandro Veneruso
𝐩𝐫𝐨𝐩𝐬: Ema Jons
𝐜𝐨𝐬𝐭𝐮𝐦𝐞𝐬:Lauribusters ( lu màgaru ), Lauribusters + Alessandro Veneruso ( u criaturo )
𝐩𝐢𝐜𝐬: Nicola Novello
During the walk the spectators found themselves running after the mysterious adventures of the Speechless foolies inside a life-size fantastic game of the goose, “jumping from box to box”, casting spells with “u criaturo” and its same-looking triggering puppet, following his magic dices, meeting the angry “magaro” robbed of his sword and ferried by the litanies of “u cani malirittu” through malodorous and chaotic underbridges. The backstage and the technical and logistics aspects of the spectacle have been part of the performance itself: the production took the vests of the programmers of the game following and assisting in real time the performers.
Interlude by live acts and performances, the journey could have been seen as well as a musical album or a storytelling live set, a collective tarot card reading or as a live backstage of the historical reenactments of a theater-themed video game?
↑𝗜𝗻𝘁𝗲𝗿𝗹𝘂𝗱𝗲 𝟭
𝐚𝐫𝐭𝐰𝐨𝐫𝐤𝐬: EmaJons
↑𝗦𝗰𝗲𝗻𝗲 𝟰
𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞: Livia Bertacca in "u cani malirittu"
𝐬𝐨𝐮𝐧𝐝𝐭𝐫𝐚𝐜𝐤: Carlotta Menozzi
𝐜𝐨𝐬𝐭𝐮𝐦𝐞: Livia Bertacca, Roze Paars
↑𝗦𝗰𝗲𝗻𝗲 𝟱
𝐥𝐢𝐯𝐞 𝐦𝐮𝐬𝐢𝐜: Diamantista
𝐚𝐫𝐭𝐰𝐨𝐫𝐤: Francesco Bonizzoni
𝐜𝐨𝐬𝐭𝐮𝐦𝐞: Shoshka
𝐬𝐭𝐚𝐠𝐞, 𝐩𝐫𝐨𝐩𝐬 𝐚𝐧𝐝 𝐬𝐩𝐞𝐜𝐢𝐚𝐥 𝐞𝐟𝐟𝐞𝐜𝐭𝐬: Solène Riff, Florian della Cortiglia, Alessandro Veneruso, Leonardo Ruvolo, Mario Adamo
↑
𝐚𝐫𝐭𝐰𝐨𝐫𝐤: Giovanni Bosco ( Castellammare del Golfo 1948-2009)
↑𝗜𝗻𝘁𝗲𝗿𝗹𝘂𝗱𝗲 𝟮
𝐥𝐢𝐯𝐞 𝐦𝐮𝐬𝐢𝐜: Polonius
𝐚𝐫𝐭𝐰𝐨𝐫𝐤: Agata Ferrari Bravo
𝐬𝐭𝐚𝐠𝐞, 𝐩𝐫𝐨𝐩𝐬 𝐚𝐧𝐝 𝐬𝐩𝐞𝐜𝐢𝐚𝐥 𝐞𝐟𝐟𝐞𝐜𝐭𝐬: Florian della Cortiglia, Alessandro Veneruso
↑𝗦𝗰𝗲𝗻𝗲 𝟲
𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞: Maziar Firouzi in "C'è del pianto in queste lacrime"
↑𝗦𝗰𝗲𝗻𝗲 𝟳 (𝗲𝗽𝗶𝗹𝗼𝗴𝘂𝗲)
𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞: Sandro in “u criaturo” (with Maziar Firouzi)
↑𝗜𝗻𝘁𝗲𝗿𝗹𝘂𝗱𝗲 𝟯
𝐥𝐢𝐯𝐞 𝐦𝐮𝐬𝐢𝐜: La Festa delle Rane
↑𝗕𝗼𝗻𝘂𝘀 𝘀𝗰𝗲𝗻𝗲
𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞: Francesca Heart et les Pléiades in “The Bubble Choir”
(Les Pleiades: Siet Phorae, Ticoy Kavei, Rev 23, Polonius, Alessandro Veneruso, Livia Bertacca)
𝐜𝐨𝐬𝐭𝐮𝐦𝐞𝐬: Ilaria Abo Rahmy + Giulia Del Bello
THE END
041
☀ MONDI LONTANISSIMI - gggglllloooossssaaaa
II Chapter
23.07.23
Mondi Lontanissimi a cura di Piero Ramella, Leonardo Ruvolo, Alessandro Veneruso, Francesca Petroni
fiction di Leonardo Ruvolo
immagine in movimento Giorgia Loliva
fonografia di Mario Adamo
logistics and take care Giovanni Bozzoli e Margot Silvestrini
food and fluids Green Code a cura di Francesco Stabile
architetture di scena Salvatore Fulco detto Turi, Viola Vitali
fotografia Adriano La Licata, Nicola Novello
assistente di produzione Cristina Giarnecchia
effetti speciali Florian Della Cortiglia, Emanuele Spiga
visual identity Wesh Studio
worldmaking / ecologia / arti performative / giochi / narrazioni speculative / creature magiche e luoghi rituali / set-light design / spazi-tempo e portali / trasformazioni alchemiche / giardini simbolici e piante magiche / raccolte e conserve / comunità eusociali / mare e montagna / cinema / filosofia tattica / aridocultura e cucina contadina /
Chapter with Radioalhara and Ibrahi Mowais, Giulia Sofi Timo Performativo / Maziar Firouzi and our master Lorenzo Raspanti. During the events, you will enjoy the food and fluid sourced by Francesco Stabile through Greencodefarm
For this occasion we asked Elia Svitrano to host us in his Garden and we are very grateful for the opportunity. We have also to thank Studio Rizoma in the person of Giorgio Mega to cooperate to make this possible.
Photo Beatrice Zerbato
↑ Photo by Adriano Lalicata
040
☀ MONDI LONTANISSIMI - Preview
I Chapter - Palazzo Riso, Palermo
13.07
Mondi Lontanissimi a cura di Piero Ramella, Leonardo Ruvolo, Alessandro Veneruso, Francesca Petroni
fiction di Leonardo Ruvolo
immagine in movimento Giorgia Loliva
fonografia di Mario Adamo
logistics and take care Giovanni Bozzoli e Margot Silvestrini
food and fluids Green Code a cura di Francesco Stabile
architetture di scena Salvatore Fulco detto Turi, Viola Vitali
fotografia Adriano La Licata, Nicola Novello
assistente di produzione Cristina Giarnecchia
effetti speciali Florian Della Cortiglia, Emanuele Spiga
visual identity Wesh Studio
photo Adriano Lalicata
worldmaking / ecologia / arti performative / giochi / narrazioni speculative / creature magiche e luoghi rituali / set-light design / spazi-tempo e portali / trasformazioni alchemiche / giardini simbolici e piante magiche / raccolte e conserve / comunità eusociali / mare e montagna / cinema / filosofia tattica / aridocultura e cucina contadina /
Mondi Lontanissimi is Posto Segreto's summer program. The worlds around which our experiences gravitate have connected and collided, exploded and given light to new realities.
Finding a form that contains previous evolutions requires a transformative effort; containing infinite alternative possibilities, without making them exclusive. Each possibility includes its own negation, concealing and revealing it at the same time. Merging and recomposing perspectives, let’ try to do this together. Our worlds, often perceived as divided, can actually touch - until they become one for a moment.
A plot, this is needed in stories, but it is the images that punctuate the story. With this in mind several images inhabit the center stage, but one above all haunts the view. Working time as if it is a plastic material that doesn’t actually exist. Or, from another perspective, the only common matter of every existing thing and what in every body eludes. This is what a film is for, to shape, to stabilize a series of moving frames. All of this is Mondi Lontanissimi.
The program is divided into several sections whose artistic direction is independent but co-participant in the overall design. Crìàtùr curated by Alessandro Veneruso and Stefano Tamburino's Wesh Studio, Non-Creative Editing Experiment curated by Benedetta Pini and Carlotta Magistris' Magazine 1977, and Malerba curated and by Francesca Petroni will take turns in a single sequence. Three different ways to articulate the infinite productive capacity of the Mondi Lontanissimi we are part of and inhabit. The last world, "Fire purifies and makes the end acceptable," is a world of passage, where with the greatest degree of freedom we will stand together waiting for the end.
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☀ BolyStrong's Leftovers
ℜ8 Boly Strong
15.03.22
Food Giuseppe Calamia
Photo Adriano Lalicata
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☀ OCCHIO OCCHI
ℜ7 Francesco Surdi
Düsseldorf - Haus der Kunst, Cantieri Culturali alla Zisa, Palermo
04.03.22
Recital - Finisage
Performance Leda Gheriglio (texts) and Andrea Masu (voice)
Graphic project Tomo Studio
Photo Leonardo Ruvolo
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☀ OCCHIO OCCHI
ℜ7 Francesco Surdi
Düsseldorf - Haus der Kunst, Cantieri Culturali alla Zisa, Palermo
17.02.23
Recital
Concert Mario Adamo e Ottaven
Graphic project Tomo Studio
Photo Adriano Lalicata
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☀ OCCHIO OCCHI
ℜ7 Francesco Surdi
Düsseldorf - Haus der Kunst, Cantieri Culturali alla Zisa, Palermo
04.02.23
Recital - Vernissage
Performance Leonardo Ruvolo reanding “Nietzsche, il politeismo e la parodia” by Pierre Klossowski
Graphic project Tomo Studio
Photo Beatrice Zerbato
↑ Photo by Adriano Lalicata
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☀ OCCHIO OCCHI
ℜ7 Francesco Surdi
Installation view at Düsseldorf - Haus der Kunst, Cantieri Culturali alla Zisa, Palermo
04.02.23-04.03.23
The Italian-American artist Francesco Surdi (Partinico, 1986) lives and works in Alcamo.
“Cose trasparenti dalle quali balena il passato, nelle forme del ricordo o del rimosso, e fors’anche il futuro, col manto del presentimento o dell’inaspettato: fantasmi l’uno e l’altro.
Le opere di Francesco Surdi sembrano abitare questo universo traslucido, alludono a una durata transitoria, a un’esistenza labile, sono una trama leggera che lambisce percezioni e cose. Primi piani umani, silenziose presenze la cui fisionomia si fissa nella zona addensata degli occhi, nella piega imponderabile di una bocca, di un’espressione, ma anche figure di animali la cui essenza è riconoscibile nonostante l’indeterminatezza, la difformità morfologica e consistenza rarefatta; fino ai lavori più recenti, pezzi d’aria, pure trasparenze.” Taken from a text by Ida Parlavecchio.
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☀ OCCHIO OCCHI
ℜ7 Francesco Surdi
working on a new production of ceramic sculptures at Nuove Officine in Alcamo
Photo Adriano Alicata
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