L’acqua che tocchi
è la prima di quella che sei
e dopo, come sei?
Antico come il greco
che sta nelle nostre ginocchia
che portano tra le nostre vecchie case
L’acqua calda è indifferente
come questo tempo
che ama i nostri capelli
i nostri capelli bianchi
come le nostre ossa
più forti della notte densa
che scorre sotto il nostro passo incerto
ma che non si stanca mai
La Madonna americana
con tutto il suo amore
non può crollare mai
la nostra sveglia
già canta tra l fontane
il filo che scivola
e ancora filo abbiamo raccolto
La nostra festa
coi fiori che aprono il cemento
è vita come acqua
non si può fermare mai
i nostri sorrisi Giampilieri
— ENGLISH —
The water you touch
it’s the first of what you are
and after, how are you?
Ancient like the Greek
that is in our knees
that lead between our old houses
Hot water is indifferent
like this time
who loves our hair
our white hair
like our bones
stronger than the dense night
flowing under our uncertain pace
but that never gets tired
The American Madonna
with all his love
She can never collapse
our alarm clock
already sings among the fountains
the thread that slides
and stille thread we have collected
we have sewed
with the flowers that open the cement
it is life like water
you can nver stop
invincible our smiles Giampilieri
Testo e musiche: Mosè Previti
Voce: Rosaria Sfragara
Special thanks to Giulia Deval, Hansko Visser, Gabriele Zaverio, Claire Ducène for music and smiles.
All sessions recorded during TRASFORMATORIO 2018, Giampilieri, Sicily, from 20 to 30 April 2018.
“Sorrisi Giampilieri” fa parte del disco Adesso Premium
Mose’: Sono uno storico dell’arte e un creativo. Ho scritto articoli, saggi, libri, cataloghi d’arte, soggetti per documentari, pubblicità. Ho organizzato concerti, eventi culturali e mostre. Ho curato e curo diversi blog, gestisco pagine e contenuti sui social per progetti creativi. Musicista e paroliere, nel 2009 ho fondato i Big Mimma world music band sperimentatrice di suoni e linguaggi contemporanei.
Arte e creatività devono essere presenti nella vita di tutti gli uomini, sia come espressione di una compiuta e consapevole libertà individuale, sia come rigoroso metodo di lavoro.
ENG: I am an art historian and a creative. I wrote articles, papers, books and art catalogues, subyects for documentaries and advertising. I organised concerts, cultural events and exhibitions. I curated and cure blogs,pages and other creative content on the network. I am a musician and a text writer, in 2009 I founded the BIG MIMMA, world music band, that experiments with sounds and contemporary musical languages.
Art and creativity should be present in every person life, both as a expression of a free activity than as a rigourous methodology of work.
RTP min. 32.10 http://www.rtptv.it/video/rtp-giornale-del-19-04-2018-1a-ed.html#sthash.q5NrV56j.slbwkOfk.dpbs
RADIO START ME UP
GAZZETTA DEL SUD http://www.gazzettadelsud.it/news/messina/289266/il-trasformatorio-di-giampilieri.html
Osservatorio a cura di Giuseppe Morgana
Interview with Ezio Cicciarella (just hot from the oven) on Radio Trasformatorio
Ezio is a sculptor, a poet, a humble self tought man.
He proudly describes the matter of his love, stone. His work in Traformatorio is “set in stone” by now. You can see it today, tomorrow, and for the next century, if the mountain stays were is supposed to be.
Follow us live on radio.dyne.org and with the app.
This is a living text for now, will change 🙂
I had to travel south, to work this out with Giuseppe Morgana and Trasformatorios friends in Sicily.
It has been a busy and terrifying month, and yet we can finally announce:
Giampilieri shares with last year location, Scaletta Zanclea, many naturalistic details and the territory, as well as the outcomes of the terrible landslide of 2009.
Is not a second choice location at all. The great support I received from the local community made me take the decision to move there immediately. It was sufficient to arrive in Piazza Pozzo, and see the strange white concrete scar; the ground works to secure the village, with the traces of the houses. To see the welcoming party from the association “Giampilieri 2.0” that offered help and did a great job in reconstructing the damaged community, to talk with Don Alessandro, the 30 something dynamic priest of the local church and to have a short walk in the landscape.
Giampilieri has all the strength and the weakness of many of the locations we have been operating so far and, if possible, these contradictions are pushed to the maximum. Yet it seems a community busy with re-generation and not at all a desolate, remote place. The land is cut through by a river, dry in the hot months of the summer and now rumbling with water. The place used to be a place for mills, treating the grain to make flour. Higher than the village two fractions, Molino and Altolia, even smaller and more remote. From here departs many old roads, stepping up to reach the high of the mountains above and reach the interiors of the islands. Remaining of towers, churches and old monastery are within the reach of a short uphill walk. Including Scaletta Superiore and her mysterious towers that we see at last, in the dusk, for a last glimpse and a picture on the mobile.
Giamplieri, explains Padre Alessandro, is too far away from the center of Messina not to be a de-facto independent community but has no major, no local police station or Carabinieri. All the community regards to the church and to the local civic associations as “Giampilieri 2.0” for reference. Yet as any small village in Sicily the community has her history, identity, and traditions. As an example the holy feast of the “Annunziata”, where the community gathers (even traveling from abroad on purpose) to feast the local Madonna and carry her statue to the sanctuary uphill.
The suggestions for the next trasformatorio as you see are many. And we will try to do the whole of the program, even if the main focus is on the Lab, where our temporary community of transformators has to be able to work in peace and use the materials found in many ways hiding in the territory.
And so we spoke with the culture group of the City of Messina. The usual one-man band here has been given as a task to 5 people. The first we have encountered, Alessandra Mammoliti, we met in the studio of the radio. She is the first person we meet and her suggestion for Giampilieri reassuring and leading to Donatella, from Giampilieri 2.0 and Pierpaolo Zampieri. In the next days, we managed to meet most of the group, that have really acted fast with wise and prompt advice. I have to thank them all. The Assessor himself, Federico Alagna called in to reassure us. The city of Messina will happily allow our activities for 2018. And this is how we passed from a 2000 something village to a city of 238,000.
I must spend some words as well on this unexpected change of plan.
The reasons why the administration of Scaletta Zanclea has decided not to renew the agreement with us are still a mystery. The agreement was on their table, together with the whole plan since 29 of August 2017 and the positive experience of the previous year. Actually, in the previous edition, everyone invested time and efforts to help us, up to village officials paying out of their own pockets to allow us to be there in the terms agreed. The administration was constantly upgraded on the status of our preparations, invited to join to meetings and had given us no reason to worry about a change of plan. You can imagine the stupor when the decision not to grant us anymore their favor has been communicated via a WhatsApp one-liner!
This is probably the only concession to modernity from an inaccessible Major, that still does not returns my phone calls. That is a mystery that I am sure will solve by itself one day.
We even agreed to pay out of our own small budget the places to accommodate the artists, just to be denied any access afterward. Following a formal request, formulated as agreed between the various frantic negotiators. Maybe the proximity of the elections (both the political one and the local in may) got us, unwillingly, into a local power struggle.
Lesson learned: one should never underestimate the power of influence of local political struggles no matter how small is the community. They tend to reproduce, as in a fractal, the shape and tactics of the bigger ones. And in Italy this is a field for brave at harts to play in.
What we know for sure that the people of Scaletta Superiore were looking forward to having us with them. Working the second year in the area was something a lot of people was looking forward to. And so it will be, in a way, because we won’t let them down moving to the twin city of Giampilieri that is merely a 30′ walk from Scaletta.
And we will keep negotiating a visit to the area to please our old friends in the somehow neglected “Scaletta Superiore” area, to view the installations and traces of last year work and to appease any doubt will be around about our commitment to work together with our friends.
See you in Sicily in 6 weeks time!
E ho dovuto viaggiare verso sud, per risolvere questo problema con gli amici Giuseppe Morgana, RE e Mose’ e tutti gli altri amici “trasformatori” di Sicilia.
È stato un mese impegnativo e terrificante, eppure possiamo finalmente annunciare:
La prossima location di Trasformatorio sarà Giampilieri, un quartiere della città di Messina
Giampilieri condivide con la location dell’anno scorso la posizione e molti dei dettagli naturalistici e paesaggistici, nonché l’aver sofferto la terribile alluvione del 2009.
Non è affatto per noi un luogo di seconda scelta. Il grande sostegno che ho ricevuto dalla comunità locale mi ha fatto prendere la decisione di trasferirci qui immediatamente. E’ bastato arrivare in piazza Pozzo e vedere la strana cicatrice bianca del cemento; come il terreno e’ stato lavorato per proteggere il villaggio, le tracce delle case. Vedere la festa di benvenuto dell’associazione “Giampilieri 2.0”, che ha offerto aiuto e fatto a detta di tutti un ottimo lavoro nella ricostruzione della comunità danneggiata; Parlare con Don Alessandro, il trentenne e dinamico sacerdote della chiesa locale, fare una breve passeggiata nel paesaggio. Nessun dubbio.
Giampilieri ha tutte le forze e le debolezze di molti dei luoghi in cui abbiamo operato finora e, se possibile, queste contraddizioni sono spinte al massimo.
E nonostente cio’ sembra una comunità piu’ alle prese con la rigenerazione che con il lutto e non e’ affatto un luogo remoto e desolato.
La terra è attraversata da un fiume, asciutto nei mesi caldi dell’estate che ora canta pieno d’acqua. Il villaggio era nato come valle piena di mulini, che trattavano il grano per fare la farina per tutti.
Più in alto del villaggio, salendo la strada stretta verso i monti, due frazioni della frazione, Molino e Altolia, ancora più piccole e remote. Da questa valle partono molte vecchie strade, che si intravedono salire per raggiungere l’alta montagna sovrastante e raggiungere gli interni dell’isola.
Resti di torri, chiese e di un antichissimo monastero sono tutti alla portata di una breve passeggiata in salita.
Compresa Scaletta Superiore e le sue torri misteriose che vediamo finalmente, nel crepuscolo, dalla collina di fronte, inaccessibile, tante volte ammirata l’anno scorso, per un’ultima occhiata attenta e una foto sul cellulare.
Giamplieri, ci spiega padre Alessandro, è troppo lontano dal centro di Messina per non essere di fatto una comunità indipendente: non ha né stazioni di polizia locali né carabinieri. Tutta la comunità considera la chiesa e le associazioni civiche locali come ad esempio “Giampilieri 2.0” come il suo riferimento.
Tuttavia, come ogni piccolo villaggio in Sicilia, anche questa comunità ha la sua storia, identità e tradizioni. Ad esempio la festa sacra della Madonna delle Grazie, dove il paesello di mille anime si riunisce (anche viaggiando dall’estero apposta per non mancare l’occasione) per festeggiare la Madonna locale e portare con coraggio in salita e discesa la sua pesantissima statua al santuario.
I suggerimenti per il prossimo trasformatorio come vedete sono molti. E proveremo a fare tutto il programma previsto, con gli opportuni cambiamenti. Anche se l’obiettivo principale è sul Lab, dove la nostra comunità temporanea di trasformatori deve poter essere in grado di lavorare in pace per utilizzare i materiali e le suggestioni che si trovano in molti modi nascosti nel territorio e nelle sue genti.
E così abbiamo parlato con il gruppo dell’assessorato condiviso per la cultura della Città di Messina. Quella che in genere e’ una one-man-band, qui nella citta’ Messina della democrazia dal basso è gestita da 5 persone. La prima che abbiamo incontrato, e’ stata Alessandra Mammoliti, con cui eravamo in contatto. Ci siamo incontrati nello studio della radio. È suo suggerimento per Giampilieri che ci porta a Donatella, dell’associazione Giampilieri 2.0 e a Pierpaolo Zampieri altro attivissimo professore universitario e assessore. Nei giorni successivi grazie a loro e a tanti altri siamo riusciti a incontrare la maggior parte del gruppo consiliare, che ha agito davvero in fretta con consigli saggi e tempestivi. Devo ringraziare tutti loro. Lo stesso assessore, Federico Alagna mi ha chiamato per rassicurarci. La città di Messina consentirà felicemente le nostre attività per il 2018. Ed è così che siamo passati dal lavorare in un villaggio di 2000 abitanti ad un villaggio di 1000 che e’ aprte integrante di una città di 238.000 abitanti.
Devo spendere anche alcune parole anche su questo inatteso cambiamento di programma.
I motivi per cui l’amministrazione di Scaletta Zanclea ha deciso di non rinnovare l’accordo con noi sono ancora un mistero. L’accordo era sul loro tavolo, insieme all’intero piano di lavoro per il 2018 dal 29 agosto 2017. Assieme all’esperienza positiva dell’anno precedente. Per essere giusti per la precedente edizione, tutti coloro che avevamo incontrato nell’amministrazione avevano investito tempo e sforzi per aiutarci, fino ad assitere al fatto che i vari assessori del villaggio avevano pagato di tasca loro per permetterci di essere lì nei termini concordati, non essendo ancora disponibili le foresterie. E’ anche da dire che l’amministrazione è stata costantemente aggiornata sullo stato dei preparativi, è stata invitata a partecipare alle riunioni, anche a quelle in calce all’ottenimento dei fondi europei per il progetto 2018, e non ci aveva dato motivo di preoccuparci per un cambiamento di programma. Potete immaginare lo stupore quando la decisione di non concederci più i permessi necessari e l’accesso alle strutture ci è stata comunicata tramite una linea su WhatsApp!
Questa è probabilmente l’unica concessione alla modernità di un Sindaco che si e’ dimostrato nei giorni seguenti inaccessibile, e che ancora non risponde alle mie telefonate. La ragione di tale comportamento un mistero che sono sicuro si risolverà da solo prima o poi.
Avevamo persino acconsentito nei giorni che si sono susseguiti ad inviare una richiesta formale, formulata come concordato tra i vari frenetici negoziatori, e a pagare dal nostro piccolo budget noi i posti necessari per ospitare gli artisti. Senza alcun risultato che un formale diniego in tre righe.
Forse la vicinanza delle elezioni (sia quella politica nazionale che quella locale prevista per maggio) ha portato, controvoglia, a esser vittima di una lotta di potere locale.
Lezione appresa: anche quando si lavora con l’immaginario non si deve mai sottovalutare l’influenza delle lotte politiche locali
An almost abandoned village, the legend of a glorious woman, the human condition.
“Uphill” is the result of an exploration of the intersections and the resonating pattern among these elements.
Scaletta Zanclea, Macalda, us.
We have birth and we often struggle about what we found out there waiting for us.
We are depicted in a certain way, they pave for us roads we don’t recognize as ours.
We are thought as the solution to others’ lives, problems, psychosis.
Even our actions are reinterpreted according to a culture we did not contributed to shape.
How can we reclaim our authenticity then?
How can we unchain us?
Which are the consequences?
Can we really do that?
Are we courageous enough?
“Uphill” is a site-specific performance by Cristiano Siri that mix physical theatre, poetry, dance, music and videos beating hard around these questions.
sCristiano; we are going to walk up! Up is the way! In the dark!
Cristiano knows how to walk. Much better than me. And he trusts only his own experience. So does not want to walk in the dark. I respect that but disagree. Sometimes you must put yourself out of your comfort zone. I had done the road before, yet no other knows, and he does only trust himself.
But Cristiano also feels the presence of subtle “matter”, the matter of wich bonds and dreams are made. I see him a few days later. On the top of the wall, in the wind, and the wind is strong as the tower foundations, as the mountain and as the island. I feel frail, not him. As his words were strong. Strong words tree time repeated. When I heard the poem for the first time I shivered. I think we all did. Was a great performance, a generous act. “In salita”. Uphill.
Sounds without images. Not necessary.
Matthew is an artist. He plays a lot of different instruments, to heal, to reach out, to break the distances between people. In trasformatorio, he shined in many different ways. I see him on the mount Etna, his rainbow jacket, and a casket of wood he carried on the whole way up. He wanted to burn it for the burning mountain. When we were resting, panting, drinking water on the semi-top, he disappeared a bit. The mountain few meters from us began to smoke, and the melting of the snow accelerated. Was this you? The igniter of the fire? Or better you took some of the lady’s one to carry down in the valley to the tower?
The smile of the wanderer covers your tracks, happy fellow…
some more traces of Matthew work:
– Shadows of the impro in the memory room, with Servando Barreiro and Rosaria Sfragara, video by Mose’ Previti.
Memory Distilled is a Python script that extracts the most used words from a text and places them into a shaped wordcloud.
This project starts in the bosom of the artistic residence of Trasformatorio 2017, to which I was honored to participate.
The main idea was to transform the energies and the resources that we found abundant in Scaletta Zanclea into something to give back.
For days I observed the people, the feelings, the landscapes, the thoughts: an explosion of beauty that was awaking in me lots of forgotten stimuli. Only in the last days, I’ve suddenly realized that the biggest transformation had occurred inside me thanks to the new experiences I was put into: as a project I wanted to distillate my thoughts as the deepest expression of my inner processes.
I keep a diary in which I record my days and thoughts, that was my starting point.
The starting point was given by the things I wrote down in those days. I’ve applied to it algorithms of Natural Language Processing to split the text, to bring back the words to their original lemma (basic form) and to compute the frequencies of usage of every single word.
At this stage, I can deduce which are the most dominant concepts reported in my diary. Through algorithms of Sentiment Analysis, I can assign a different color to the words that belong to the neutral, positive or negative semantic field. When it’s all set I print them onto the shape of the beautiful castle that has hosted us for 10 days.
“An ordinary day in my life, by Macalda.”
A conceptual storytelling based on a local legend which is lost in time, using photography and slow motion animation, narratives and digital interaction.
The legend of Macalda of Scaletta presents the ordinary life of a living ghost in a contemporary reality moving freely around the village. After having different conversations and interviews with local people from Scaletta Superiore and Inferiore, we collected memories and impressions to inspire our project and recreate the legend as a contemporary one (future of storytelling).
The interactive storytelling allows the user to visit different locations and navigate on a map of Scaletta which connects the old and new village. In every spot, there is a picture or a short animation appearing together with a sound file (narrator voice or sound). All participants in this project (making off, the whole process, interaction): Irene, Martina, Jakub, Nino, Giulio, Rosaria.
I don´t have a video version that can be used online. If Nino or Giulio can create a video with some linear narrative containing the audios, it can be used to present this project on the internet (Youtube).
A visual photo documentation of Scaletta Zanclea during the residency period. The memories collected are directly connected with the sensorial perception of the environment and mixed with own impressions. While editing the images, a text came out as a narrative for the visuals collected. (Find it below and as an attached doc to this email).
It´s 17:10 to my left and 14:50 to my right. Where am I?
One turn, two, three and four, what´s the time?
Life moves backward and forwards in this strange paradise.
I contemplate the landscape while listening
to the perfect disharmony of a timeless symphony
performed by an invisible orchestra,
which instruments are made
of electric wires and ferocious plants.
I smell the precious nectar of blossoming flowers
trapping through the leftovers of an empty house.
In the nonsense, the village maintains it´s own rhythm,
solitude caress the pale with gradients of a green palette.
Nature takes all over the place invading massively as
an army of Mother Earth.
While something perishes, something else is born.
While the elderly count their days left,
wilderness raises embracing it all.
Like two sides of a coin or a spiral staircase,
this village goes up and down with a beautiful nonsense.
I leave behind the fragments that I found today
from an undated yesterday.
Feeling like an archaeologist of tomorrow,
smiling and wondering about all these artifacts and waste.
According to no law that science can tell,
there is something peculiar in the streets and their smell.
Some smell of flowers while others like death,
some doors remain close when others are not found.
The people of this village are peculiar as well.
They are scalettians, they function as the stairs.
Life goes always up and down, down and up, who cares.
While the dead ones meet up, modern life flows down the stairs.
Nature likes to play here too with disasters and big flows.
They take away what men have built and leave a mess around.
When nature wants to manifest it is an horror show.
The forces of a thousand sons of Titan Poseidon
play triumphant trumpets on their march towards the Sea and Beyond.
Memory seems to be forgotten in this tiny town.
When one ask about their ghosts, nobody seems to know
if they were once alive or dead or even if they existed.
There is a castle on the top where all these invisible ones
hang together and remain as local villagers.
If you ask me where am I, I no longer know
how to answer to this question without feeling lost.
I love the fact that this place is a mixture of all times.
Somehow, it feels like the wind,
sometimes dances soft and smooth
and others like a storm.
Sca Zan Le Cle Tta A,
no matter what the order is,
Scaletta Zanclea and Zanclea Scaletta
are both one.
You can see many pictures taken by Irene all over the documentation of Trasformatorio 2017. She has a deep sensibility that she showed in a series of portraits of nature as well as the people she met.
Half of the secret dramaturgy of the operation rested on her strong shoulders and I would not have made it without her. This is not an evaluation talk, is a thank you.
more: check out Irene’s story on her blog http://namtarucreations.com/portfolio/tras-form-trasformatorio-air/
Installation: Dry cactus leaves and tuna dye
Alluvione was made out of memories from tragedy, hope and nostalgia. A great flood in 2009 made an impression in the people from Scaletta and its landscape. One afternoon spent with any of them will allow you to feel the fear, shock, and respect people have towards nature, which always reminds us it cannot be controlled. Nostalgia because the cactus brought back to me memories from my country with a beautiful reminder of hope. The cactus has a slow and beautiful process of decadence, with the right timing, one can find traces of their inner structures dried out. Many of these leaves were specifically selected and dyed with the natural pigment of the fruit from the same plant, tuna. Later on, they were joined one after another to create a line which symbolises tears. Alluvione was placed in a specific site of the castle tormented by air, as a reminder of the flood and the unstoppable trace and force of nature.
From the artist statement
Azucena work proceeded from familiarity and observation. Her sensibility transformed her findings into textiles, into the coral reef, into food, and memories. Left flying on the castle tower until has been cut out, by a knife, in the morning sun.
The dead plantsArranging dead plants found in Scaletta Zanclea had to me at times more immediate function and overall an underlying driving force.Curtain at the entrance of the castle made of dry giant fennel branches meant to mark the passage to a place where one can allow oneself more and is more open for reception, to take one defenses somewhat down. For a moment one is being brushed over by the plants, not knowing or seeing what is behind them, what is the meaning of it, and where does it lead to. Immersed and then free again to experience works that are awaiting visitors.I found beauty, inquietude and gloom in branches placed on stairs to the castle. Similarly with dry trees that became part of Martina Caronna’s and Irina Baldini’s performance.The driving force behind collecting the dead plants and making use of them is willingness to express sadness. Sadness of loosing home, sadness of loosing close people, sadness of some things that happened in my life, in life of my parents, in life of my grandparents, in all of our lives. And to accept this sadness.Thank you to all of you who got engaged with the dead plants, helped with them and changed them. Your words, gestures, deeds and sheer presence made it all happen.Jakub Bobrowski
The 28 night the castle seemed angry at us. From down up, the light was out in the whole village because of some strange leak in the system. No one really felt like to climb again the couple kilometres or so of steep path. But Kuba had to carry the trees…
Machbet act IV, scene 1