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16-17/12 2011 CINEMA, LETTERATURA E MUSICA CINEMA, LITERATURE AND MUSIC


Organizzazione e Servizi Museali


XV Biennale de la Méditerranée Rome / Thessaloniki

Roma - December, 16th - 17th 2011 a cura di / curated by Costanza Paissan promosso da / promoted by Bjcem – Association internationale pour la Biennale des jeunes créateurs de l'Europe et de la Méditerranée in collaborazione con / in cooperation with Roma Capitale Assessorato alla Famiglia, all'Educazione e ai Giovani / Department for Family, Education and Youth MACRO – Museo d'Arte Contemporanea Roma / Museum of Contemporary Art Rome Zètema – progetto cultura


BJCEM aisbl Luigi Ratclif Presidente / President Emiliano Paoletti Segretario Generale / General Secretary Paulo Gouveia Tesoriere / Treasurer Consiglio di Direzione / Board of Directors Mohamed Arejdal, Ahmed Bedjaoui, Selim Birsel, Aleksandra Boskovic, Isabelle Bourgeois, Rita Canarezza, Elena Christodoulidou, Diana Çhuli, Maria del Gozo Merino Sanchez, Claudio Grillone, Paulo Gouveia, France Irrmann, Sara Kuusi, Maria Lokou, Lidia Menacho Romero, Said Murad, Nina Mudrinic Milovanoviç, Abdo Nawar, Ksenjia Orelij, Spiros Pengas, Nada Peseva, Leonardo Punginelli, Mohamed Rafik Khalil, Maria del Mar Sanchez Estrella, Jernej Skof, Ibrahim Spahic, Carlo Testini, Dominique Thevenot, Karsten Xuereb. Ufficio operativo / Executive office Emiliano Paoletti; Federica Candelaresi (organizzazione generale / general organization); Daniele Stillavato (amministrazione / administration); Patrizia Rossello (pubbliche relazioni / public relations); Paolo Mele (comunicazione web / web communication) / Paola Picca Garin (Assistente alla Comunicazione / Communication Assistant)

Bjcem is supported by :

Gianni Alemanno Sindaco / Mayor Assessorato alla Famiglia, all’Educazione e ai Giovani Department for Family, Education and Yourh Gianluigi De Palo Assessore/Councillor Loredana Zorzan Capo segreteria / Head of secretariat Francesco Maria Olivieri Capo staff / Head of staff Concita De Simone Francesco Macaro Laura Gigliarelli Ufficio Stampa e Comunicazione Press and communication office Gabriele Gnocchi Gloria Zuniga Paola Amici Giuseppe Mazzotta Cinzia Cerioni Segreteria/Secretariat Matteo Mennini Responsabile Area Scuola Responsible of School Office Irene Castellina Responsabile Area Famiglia Responsible of Family Office

Bjcem donors : Artegiovane, Lago, Cantine Nervi - Gattinara

Partners per la / Partners for the XV Biennale de la Méditerranée : AIN (Association IN), Syria ; Austrian Federal Ministry for Education, Arts and Culture, Arts Division; City of Trieste, "Artefatto" Project – Italy; Stacion - Center for Contemporary Art, Kosovo; The Israeli Center for Digital Art, Israel; UKYA, UK Young Artists; Visioni Future, Italy

Francesca Di Stefano Responsabile Area Formazione Responsabile of Education Office Costantino D’Orazio Responsabile Area Giovani e Delegato per la BJCEM Responsible of Youth office and BJCEM Delegate


Dipartimento Servizi Educativi e Scolastici Education and School Services Department

Assessorato alle Politiche Culturali e Centro Storico Department for Cultural Policies and Historical Centre

Giovanni Williams Direttore / Director

Dino Gasperini Assessore / Councillor

Emanuela Bisanzio Direttore Direzione Promozione Servizi per la Famiglia e la Gioventù Director of Promotional Services for Family and Youth Office

Anna Mosca Ufficio Relazioni Esterne / PR Office

Michela Micheli Dirigente U.O. Promozione Servizi per la Gioventù: Università, Lavoro e Socializzazione / Executive Manager of Promotional Services for Youth Office: University, Job and Socialization Roberta Maria Sorace Responsabile U.O. Promozione Servizi per la Gioventù: Università, Lavoro e Socializzazione Manager of Promotional Services for Youth Office: University, Job and Socialization Stefania Chiffi Daniela Iannelli Patrizia Scuglia Raffaele Sisca Antonia Anna Pagano Personale U.O. Promozione Servizi per la Gioventù: Univeristà, Lavoro e Socializzazione Staff of Promotional Services for Youth Office: University, Job and Socialization

Valeria Arnaldi Ufficio Comunicazione / Communication Office Claudia Lovisetto Ufficio Stampa / Press Office

Sovraintendenza ai Beni Culturali Cultural Heritage Superintendency Umberto Broccoli Sovraintendente / Superintendent Servizio Comunicazione e Relazioni Esterne PR and Communication Office Renata Piccininni, Responsabile / Responsible Teresa Franco U.O. Intersettoriale Programmazione Grandi Eventi Mostre - Gestione del Territorio - Restauri Events – Exhibitions – Area Managing – Restorations Planning Patrizia Cavalieri, Dirigente / Manager Servizio Mostre e Attività Espositive e Culturali Exhibition and Cultural Activities Office Federica Pirani, Responsabile / Responsible

MACRO Museo d’Arte Contemporanea Roma MACRO Museum of Contemporary Art Bartolomeo Pietromarchi Direttore / Director Laura Pagliani Segreteria / Secretary Ufficio di supporto Attività Museali / Museum Activities Support Office Assessorato alle Politiche Culturali e Centro Storico / Department for Cultural Policies and Historical Centre Tina Cannavacciuolo in collaborazione con / in collaboration with Anita Valentina Fiorino Ambra Giorgulli Ufficio mostre / Exhibition Department Costanza Paissan in collaborazione con / in collaboration with Silvia Bucchi Carolina Pozzi Maria Villa Ufficio stampa e Comunicazione / Press Office and Communication Massimiliano Moschetta Nicolò Scialanga Simona Staniscia Relazioni esterne / External Relations Teresa Emanuele Nathan Clemens-Gillespie Giulia Omodeo Salè Organizzazione e Servizi Museali

Organizzazione e servizi museali / Organization and museum services Francesco Marcolini Presidente / President Albino Ruberti Amministratore delegato / Chief Executive Officer Roberta Biglino Direttore generale / General Director Teresa Mulone con/with Luca Carosella Coordinamento / General organization Patrizia Morici Ufficio Stampa / Press Office


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........................................................................................................... ..~+???++++++++++====+==++??II777I?????????IIIIIII????+ ............................................................................................................~???+++==+++=+=======++???II7$I7I?+++?????IIIIII???+=, La XV° edizione della Biennale dei Giovani Artisti dell’Europa The 15th edition of the Biennale de la Méditerranée is an .........................................................................................................,=????++++++++++=====++?????I77777?+++?????III77II?+~.... e del Mediterraneo si configura come una importante tappa important stage in the long history of this event. .......................................................................................................:++???++++++++++++=+++++????II77$7I+++?????II777?+~,....... nella ormai lunga storia di questa manifestazione. The choice of including more cities, Thessaloniki and Rome, is .....................................................................................................=+??+?+==++=++====+++++++??II77$77?++++?III777I+:............ La scelta di coinvolgere più sedi, Salonicco e Roma, è nata born by the necessity to create an articulated path trough the ...................................................................................................=+??????++++====~==+++++???II77$$7I?++??I77777I~............... .................................................................................................=+++??????++==+====++++???IIII77777I??III7777I=,................. dalla necessità di creare un percorso articolato tra i diversi differents Countries that are part of our network. The ...............................................................................................~?????????++++++=====+++???III77$$77IIII77777I~.................... Paesi che fanno parte della nostra rete. La realizzazione di realization of a series of events is not fragmentary but on the .............................................................................................:+????????++++++++++++++???II777$$$7IIII77$77?:...................... una serie di appuntamenti non è frammentaria ma, al contrario, contrary make possible to take a long journey trough the unedited ............................................................................................+????????++++??+?+++++???III77$$$$77III77777+,........................ consente di percorrere un lungo viaggio attraverso gli inediti looks of young artists of the euromediterranean area. ..........................................................................................=????+++++?+?+?I?+?????III7777$$$$7777I7777I~........................... sguardi di giovani artisti dell’area euro mediterranea. The title Symbiosis the title clearly shows the urgency of ..........................................................,~~~::~~:.....................~??I??+++?????????++???II77777777777777777I+,............................. .........................................................:~:~~~:~:~=~... Il titolo Symbiosis ben evidenzia l’urgenza di rispondere .............:+??I??+++??+?I?+++???II777777777777777777?:................................ a responding to a very relevant question: how can we live ........................................................:~:~~~::::~:~==:............:+??+=++=+=?II??????I7I777$$$77777777777I+,................................... una domanda quanto mai pertinente: come possiamo oggi vivere together now? .......................................................~~==:~::::~:~:~~~~=~.....:~?????++++??+?I????II777$$$$$$$$7777777I=,..... ................................. insieme? The artists know how to propose solutions and, with their ......................................................:~=~::,::~~~=::~~~~~=~=~=???????++++?I??II??III7$$Z$Z$$$77777II=,........................................... Gli artisti sanno proporre soluzioni e, con le loro opere, works, often stress emergencies with which it is now necessary .....................................................~~=~:::==~==~~:::~~==~~==+=????+++++?+?IIIII77$$$$$$$$7777I?~,............................................... ...................................................,=~~:::==:,.:=~~:::~~=~==~=+?+????++?+IIII7777$$$$$$$$$7I+:.................................................... spesso sottolineano le emergenze con le quali oggi è to measure: the economic crisis, the political crisis in many ..................................................:~~=:::~~,,...~===++++=====~=7$I?++++++I777$$$$$$$$77I+,........................................................ necessario misurarci: la crisi economica, la crisi politica states and especially those of the South shore of the .................................................:=~+?=~::~:,,,,:+???+??++=====I$I?+++??I7$$$$7$$7$I?~............................................................ di molti stati e soprattutto di quelli della Riva Sud del Mediterranean, the problems related to migration, social ................................................:~~=+II+=~:=+~~=+??I7I????+++??77I?==+?I$$$$777I+:................................................................ Mediterraneo, i problemi legati alle migrazioni, alla inequality, globalization, etc.. ................................................=~==+II?+~~~IOZO8D8$I7$Z7????II77I?=+?77$77?=,.................................................................... disuguaglianza sociale, alla globalizzazione, ecc. We find great strength in young people, a valuable resource of ................................................:++???II+=~:+ZO8888Z7II?++???II777II777I=,........................................................................ ..................................................~+?I?II?=~~~+I77I+++++++++??II77II~............................................................................. Noi troviamo nei giovani grande forza, una risorsa preziosa di renewed energy that helps us not to abandon the easy temptation ..................................................,.+I+I???++==+?~:=+=~==++++??II~................................................................................ rinnovata energia che ci aiuta a non abbandonarci alla facile of defeatism, the fight to regain democracy today more topical .........................................................~?++++=,.....,:~~=====:.................................................................................. tentazione del disfattismo; la lotta di riconquista della than ever, makes us breathe the air of renewal and reaffirmation ..............................................................,,.................................................................................................. democrazia, oggi quanto mai attuale, ci fa respirare aria di of the freedom and relaunch of the indispensable values. .................................................................................................................................................................. rinnovamento, di riaffermazione della libertà e di rilancio di The construction of stable ties and the exaltation of the rich .................................................................................................................................................................. .................................................................................................................................................................. valori irrinunciabili. cultural heritage that each of us carries with it are the basis .................................................................................................................................................................. La costruzione di legami stabili e l’esaltazione del ricco for fostering knowledge and generate useful exchanges, roots for .................................................................................................................................................................. patrimonio culturale che ciascuno di noi porta con sé sono le a certainly better future. .................................................................................................................................................................. basi per favorire conoscenza e generare utili scambi, radici .................................................................................................................................................................. di un futuro certamente migliore. .................................................................................................................................................................. 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................~~=~=+++==~:::~~::::~~:::~~=?I+?$Z$=~~+++?~:,,:=:=:777$ZOOO8888DDDDDDNNNDDDDDDD88888OOOOOO=....................................................... ................:===+==~~:::~~~:~~:~~~::::~~+II?$7I~~~::=$II+=:~~=:$$77$77$$ZO8D88888DNDDDDDDD888888OOOOOOZ,...................................................... ...............,~=~==++++=~~~~~~=~~~~~::::::~?7?7+=~~~~~:I?::::~=~~Z$777IIII7ZO888OOOODNDDDDD88888888OOOOOO? ..................................................... ................:~~~+?Z$$II++=~~~~~~~::::::~~?+I+=+=~~~~~+I,:,::::+Z$7IIIII?I7ZZZZZ$$7$8NDDDDDD8888DDDOOOOOO=..................................................... .................:~=IOZ$II?????+=~~~~~~~::~~:~~~~+?==++===+:++:::+ZO$I?IIII??I7IIIIII7I7$8NDDDD8888888D8OOOZZ:.................................................... .................:=IOOI++==~~==~~~::~~::::::::::=++?????+?++?+~:=ZOO$I??I7??+?II???IIIIII7ODDDDDDDD888D8OOOZO=...,................................................ ..................=7OZII?II?+=+===~::::::~:,,,:=?++?II?II?+==~~+ZOOZ7I??II?+++???+?????IIII$ODDNDDDDDDDDOOOOZZOOO+=?I7$$?......................................... ..................,=7$77$7=++?II?+=~~~::~+::::~++??+III+??=:~~?OOZ$7I????I?++++??+++++??????I7Z8NNNNNDD8OOOOOO888OOOOOOOOO$7?~:,.. .,,..........,...,............. ....................,=I7ZOZO$Z??+====~:::::::~~+=?++???+?I??I$OOZ$7I???????+++++?+=++=+????+??II?II7$ZOOOOOOOO8D888OOOOOOOOOOZZZZ7~~?$ZZ$7I+~,.. ,=I7I............ .....................,~=+?IZ$+=+?=~==~:,~~:::~~==+???7I7Z77$Z$$7II??+++?????+==+I?+++==+???+==++??++=++OOOOOODNND8888OOO8OZOOZZZZOZZOZZZZZZZZZZOOOZZZZZ+,......... .......................~:~=7??77?===~~==:::~~~=+=?+?+?IZZ$7IIIII??+++++++???+=++??+++++?+??+=~~~==++~~7OOOOONMNNNDD88OOOOOOOOOOOOOOOZZOOOOOOOOOOOZZZOOOOOZZZI,.... ......................,,::~+IZZ7+=+=~~~~~~~~~~~++?I?+?7$I7$I7+??I++++=++++??++=+???+++++++=+==~~::~~~~ZOOOONMNMNNDDD888OOOOOOOOOOOOOOOOOOOOOOOOOOOZOOOOOOOOD8O$.,. ......................,,,::~=?+=+=====~==~==~+=+I$?+I+I$777II?I?++=======++??+++???++==========~~:::,?OOOOMMMMMNNNDD888OOOOOOOOOOOOOOOOOOOO88OOOOOO8OO8DDDDDDDO,.. .....................:::,::::~=~~====+=======++?7I$$777I77?7IIII?++=~~~====++++++???+++==++====~==~::OOO8MMMMNNMNNDD888OOOOOOOOOOOOOOOOOOOOOOOOOOOOO8DNNNNNNDDD,.. .....................=::::~~==~==~===++++++=++?II7$$Z7?$$7I$$ZII??++==~====++++=++?I?+=========~::~~ZOONMMMMMMMNNNDD888OOOO888O8OO8OOOOOO888OOO88OO8NNNNDDDDDD8,.. .....................~::,,,,,:+?++=+++???+++???I7I$7I77$777ZO$ZZ$I+++======++====++??=========~~,,,7O8MMMNMNNNNNNDD888888888OOOOOOOO8OOOO88OOOO8OOODNDDDDD888888$. .....................~:,,,,,,:~+?I+++++????++?II77$$$$Z$$$$7OZ7$$$7II?++==========+??+=====~~~:,:.I8NMMMNNMNDNDDDDD888888888OO8OOOOOOOOO8OO88O88OO8DDDDDD8888888O= .....................=~::,:,,~I==+II?+=++??+?III77$$ZZZOZZZ7O$$ZZZ$7I+============++?+===~~~~::~:DNNNNNNNDDDDNDDD888888888O888888OO8O88O88O88888888DNDD8888888888O$ .....................==~~:?Z87I++==+77++++?I?777777$$$$OO88888OO$ZZ$I?=====+++============~~::,~ZODDDDDDDD8DDD88888888OOO8OOO888OOO8888888888888888DNDDD88888888888 .....................:=+?N8ZIIII?++??IO7?+?I77$77$Z$$Z8OOOO88O8OD8OZ7??======+==~~~==+=+++=~~,:ZZ$DND8ND888DD8888888OO88O8OOOOO88888888888888888888DDD8DD8D88888888 ......................:?ZO$$$$Z$$II?II$ZZ7??I7$$$$ZZZO88OO8OOZO8D8D8$I?+========~~~~=+==++=~~=ZO8NND8D8888D888888O88888888888888888888888888888888DDDD8DDD8D8888888 ......................:ZO88DD88ZZ$$7$I$Z8O$77$$ZOZZOOOO8O8D8O888DDDDO7?+========~~~~~==+?=~~+O8NMMMD888O8DD88888888888888888888888888888888DDDD888DDDDDDDDDD88D8888 .....................7OOO88888D8D8OZ??+I8N8OZ77ZZOOO88O8Z8Z8OD88DNDD8ZI++===+++==~~:~~===~:Z8MNMNNDDD8888D88OO88888888888DDDDDDD8888888888DDDDDD88DNDDDDDDDDDDDD888 ...................+ZO8OO8888DDDDNDNMDNMNN$7$ZOZ$ZZZ8888888888NDDDD8OO$I+====++++=~~~~~~~?8DNNDD8888888888888888D8DDDDDDDDDDDD8888D88888DDDDDDDDD8NDDDDDDDDDDDDDDDD ................ 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.........7$$OOOOOOOOO8888888888DDDDDDDNNDDDDDDDOZ888888DDDDMMMMMMD8$I??+==+I7+~~===::88DDD8DDDDDDNNMNNNN8NNDD88888888DDDDDDNDDDD88D88DDDDDDDDDDDNNNNNNNNNNNNNNNNNNN .....,:=ZZZZOOOOOOOO888888888888DDDDDDDDDDDDDDDDN8NNDNNDNNNMMMMNDDDO$II?+++=II=~==~:?8D88:$ND88DDNMNND8DONOD88888DDDDDDDDDDD8888888DDDDDDDDDDDDDNNNNNNNNNNNNNNNNNNN ..:=++=IZZZOOO88888888O888888888DDDDDDDDDDDDDDDDDNNNNNMMMMMMMMMMMNND8O7+=~~~~I?~==:,8DDDDDMDDDDDNNND7O.?~DD888DDDDDDDDD888888888DDDDNDNDDDDDDDDDNNNNNNNNNNNDDDDDDDD ++++++=7ZZZOOOO88888888888888888DDDDDDDDDDDDDDDDDDDNNNNMMMMMMMMNDDDN8OO88OI~~~?=~:,$8DDDDDDDDNNNNDD7$$~==8O888D88888O8888888DDNNNNNNDDDDDDDDDDDNNNNNNDDNDDNNDNNNNNN ++++++=IOOOOOOOOO888888888888888DD8DDDDDDD8DDD8DDDDDDDDDNNNNNNDDDD8Z8OONND887:~+~:~DDDDDDDDDNNNDDDDZ~:~?+8D888888888888DDDDNNNNNDDDDDDDDDDDDDDDNNNNNNNNNNNMNMMMMMMM +++++==+ZZOOOOOOOO888888888888DDDD8DDDDDDDDDDDDDDDDDDDDDDDD8888DD887$$D8888888Z++:8DDDD8DDNNNDDDDD88888:.8888888888DDDNNNNNNDDD8888DDDDDDDDDDDDNDNNNNNNNNNMMNNNNNNN +++====~OOOOOOOOOOO88888888888DDDD8DDDDDDDDDDDDDDDDDDDDDDD88888888888O88888888887IDDDDDDNNNDD88888888OO88D88DDDDDDNNDDDDD88888888888DD8DDDDDDDDNNNNNNNNNNNNNNDDDDDD =====~~~7OOOOOOOOOOO8O8O888888DDDDD8DDDDDDDDDDDDDDDDDDDDDDD88888888OO88O8DDDDD88OD8DDNNNDD8888888OO88OO88DDDNNNDDD888888888888888DDD8DDDDDDDDDDNDNNNNDNDDDDDDDDDDDD =====~~~~O88888OOOOOOOOOO88888DDDD88D8DDDDDDDDDDDDDDDDDDDDDDDDD88888OOOOOO8O88DDO8ODNNN8888888888OO888888888888O88OOOOOO8O88OO8888888DDDDDDDDDDDDNNNNDDDDDDDDDDDDDD =~~~~~~~:+8OO888OOOO8O88O888888DDD8888888888888888DDDDDDDDDNNNNNNDD888OOOZZOO8OZ8NDD8D88888888888888888888888888888888888888888888O8DDDDDDDDDDDDNDDDDDDDDDDDDDDDDDN ~~~~~~::~~$O88888888O8O8888888888D88888888888888888888888DD8DDDNNNNNNDD88OOZOOZOD:7OD8D888888888OO8888888888888888888888888888888888DDNDDDDDDDDDNDNDDDDDDDDDDDDNDNM ~~~~~~~~~~~78O8888888888888888888888888888888888888888888888888DDDDDDDNNNND8OOO88ZIIO88888888888OOO888888888888888888888888888888888NDDDDDDDDDNDNDDNNNNNNNNNNNNNNNN ~~~~~~~~~===7888888888D8888DDDD8DDD888888888888888888888888888888888888888888OOO878888O888888888888888888888888888888888888888888888NDDDDDDDDNNNMMMMMMMMMMMMNNMNNDD ====+++++??III$8O8O888O88DDDD8D887. 7O8DDDDDDDDDDDDDDDDDD88888888888888888DDD8888888OOOOO888888888888888888888888888888888888888888DNDDDDDNNNMMMMMMMMMMMMMMMMNNNNND +++???IIIIII?I?IO88888888DDD8D8Z:....,$O88DDDDDDDNNNNNNNNNNDDDDDDD8888888DDDD888888OOOOOO88888888888888888888888888888O888888888888DDDDDDNNMMMMMMMMMMMMMMMMMNNNNDO~ ??IIIIII??+??+=:.IO888DD88888+..... , . ,Z8888888DDDDDDDDDDDDDDDDDDDD88888888O88O8O8O8888888888888888888888888888888888888888888888DDDDNNMMMMMMMMMMMMMMMMMNNMNN?,, IIIII?+++~:. ... .IDO8D8887............. :OOO8888888888888888888DDDDDDD88888OOO8888888888888888888888888888888888888888888888888D8DDDNNMMMMMMMMMMMMMMMMMMNMNNN,.. 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La creatività è una delle qualità che da sempre ha fatto creCreativity has always had a topic role in the developement of ci.............................................?OOOOO888O88O888888888888888888888O88O8OOOO888D888888888888888888888888888888DDDDDDNNMMMMNMMMMMMMMMMMMNMMMNMMMMNMN,,, scere le città, grazie soprattutto alle iniziative e alle rities, due to actions and revolutions carried out by young people. ..............................................?OOO8OOO888888888888888888D8DDD8D888888888888888O88888888888888888888888888DDDDDDNNNMMMMMMMMMMMMMMNNMMMMMNMMMMMNN,., voluzioni che hanno visto i giovani protagonisti. I fatti The extraordinary events happened this year in the South of the ................................................ZOOO88888888888888888DD8D8DDD8D888888888888888O888888888888888888DDDD88DDDDDDDDNDNMMMMMMMMMMMNNNMMMMNNNNMMMMMNN,.. accaduti durante la scorsa primavera nel Sud del Mediterraneo Mediterranean Sea are an evident proof of this phenomenon. Wi.................................................?OO88888888888888888888D88888888888888888888888888888888888888888D8DDDDDDDDDDNNNMMMMMMMMMMNNNNNMMMNNNNMMMMMNNN,,. ...............................................,..$O8888888888888888888888888888888888888888888888888D8888888888DDDDD8DDDDDDNDNNMMMMMMMMMNNNNNNMMMMNNNNMMMMMMNN,,. lo dimostrano. Senza creatività e tecnologia, i giovani non thout creativity and technology, young Tunisians and Egyptians ...................................................O88D8888888888888888888888888888888888888888888888D888888888D888DDDDDDDDDNNMNMMMMMNNNNNNNNNNMMMNNNNNMMMNMNND,,. avrebbero trovato il modo per trasformare i loro paesi. Roma wouldn’t find the way to change their own countries. ...................................................~OOO8888888888888888888888888888888888888D8888888888888D88888DDDDDDDDDDNNNDNNMMMMMMNNNNNNNNNMMNNNNNNMMMMNNND,,, si è rimessa in cammino su questa strada ed è lieta di ospiRome has started the same itinerary and it is proud to host ...................................................,?O88888888888888888888888888888888888888D8888888888D88DDDDDDDDDDDDDDDDNDDNNNMNNNNNNNNNNDNNMMNNDNNNNMMNNNMN8,,, tare due sezioni della Biennale Internazionale dei Giovani Artwo sections of the International Biennial of Young Artists .....................................................$O8888888888888888888888888888888888888D888888888D88DD8DDDDDDDDDDDDDNDDDNNNMNNNNNNNNDDDNNMNNNNNDNNNNNNNMN8,,, tisti dell’Europa e del Mediterraneo. Questa iniziativa si from Europe and the Mediterranean. The aim of this cultural ...................................................,..788888888D888888888888888888888888888888O88D88DD8DDDDDDDDDDDDDDDDNNNNNNNNNMNNNDDDDDDNNMNNNNDDNNNNMNNNNNN$,,, .....................................................,:88DDDDDDD8888D8888888888888888888888888ND88DD8DDDDDDDDDDDDDDDDDDDNDDDDDDNNDDDDDDNNNMMNNNNNNNNNNNMNNNNNNI,,, spinge molto oltre i confini del solo ambito artistico e tocca event goes far beyond the bounderies of Art and touches many ...................................................,..ZDDDDDDDD88DDD8DD8888888888888888DDDD8D88DDDD8888DDD8DDDDDDDDDDDDDDDDDDNMNDDNNNNMNNNNNNNNNNNNNNNNNNNNNNN=,,, molte altre emergenze della nostra società contemporanea. La other central emergencies of our contemporary society. The ...................................................,,$8DDDDDDD8DDDDDDD888888888888DDDDDDDDDDDDDDDDDDDNDD88888DDDDDDDDDNDDDNMNNNNMMNNNNNNNNNDDNNNNNNNNNNNNNNNNN:,,, Biennale contiene e promuove molti dei valori su cui Roma CaBiennal promotes, as well, many of the values Rome is working ...............................................,,,,.+O8DDD8DDDDDDDD88888D88888D8DDDDDDDDDDDDDDDDDDD8DDDDDNNND888888DDNMMMMMMMMMMNNNNNNNNNNNDDNNNNNNNNNNNNNNNND,,,, pitale sta lavorando per diventare una città più “a misura di on, in order to become a “youth friendly” capital: sharing, ...............................................,,,,.:8DD8888DDDD8888888D8888DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNNNNNNNDDDNDDDDDDDDDDDNNNDDDDDNNNNNNNNNNNMNNNND,,,, giovane”: la condivisione, la fantasia e la speranza attrafantasy and hope, thanks to concrete enterprises that have a ...............................................,,,,,,OD8DDD88DDDDDD8888DDDDDDDDDDNDNDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNDNNNNNNNDDDDDDDDNDDDNDDDNNNNNNNNNNNNNNNNNN8,,,, ...........................................,,,,,,,,.,~88O88DDDDDD88888DDDDDDDNNNNNNNDDDDDDDDD8DDDDDDDDDDDDDDDDDDDDDDDDDDDNNNNNNDNNNDNNDDDDDDNNNNNNNNNNNNNNNNNZ,,,, verso la creazione di iniziative che abbiano una ricaduta conreal effect on the urban territory. ...........................................,,,,,,,,:.,=DZ88888888888DDDDDDNNNNNNNDDDDDDD888DDDDDDDDDDDDDDDDDDDDDDDNDDDDDDDDDDDDDDNNDDDDDDDNNNNNNNNNNNNNMNNNNNI,,,, creta sul territorio. Ringraziamo le istituzioni greche per We want to thank Greek institutions for the effort they made ...........................................,,,,,,,,.,.,~OO8888888DDDDNNNNNMNNNNDDDD8D888888DD8DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNNNNNNNNNNNNNNNNNN=:,,, l’impegno che hanno messo nella realizzazione della Sezione in the organization of the Art, Video and Design Section, de...........................................,,,,,,,,,,,,,,7Z888DDDDDNNNNNNNNNDDD88888888888888DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNNNNNNNNNNNNNNNNNNNN:,,,, Arti Visive, Video e Design nel mese di Ottobre a Salonicco, spite the country is living a difficult moment, and we hope ...........................................,,,,,,,,,,,,,,,O8DNNNNNMNNNNNDDDDDD8888D8888888888D8DDDDDDDDDDDDDDDDDDDDNDNDDDDDDDDDNDDDDDDDNNNNNNNNNNNNNNNNNNNNNN::,,, in un momento non facile per nessuno e speriamo che questi this event will open new chances for future a collaboration .......................................,,,,,,,,,,,,,,,,.:ODNNNNNNDDDDDDD88888888888888888DDD888DDDDDDDDDDDNDNDDDDDDDDDDDDDDDDDNDDDDDDDNDNNNNNNDNNNNNNNNMNNNND:::,, .......................................,,,,,,,,,,,,,,,,,,DDDDD8888888888888888888888888888888DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNNNNNNDDDDNNNNNNNNNNNNNNNNNNNNND::::: eventi possano contribuire a creare nuove occasioni di collabetween Rome and Salonicco. .......................................,,,,,,,,,,,,,,,,,=8888888888888888888888888888888888DDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNDDNNDDNDDDDDDNNNNNNNNNNNNNNNNNNNNNO::::: borazione tra le nostre città. Beauty will save the world! ...................................,,,,,,,,,,,,,,,,,,,,.$8DDDDDDD8888888888888888888888888888DDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNNDDDDDDDDDNNNNNNNNNNNNNNNNNNNNNN$::::: La Bellezza salverà il mondo! ...................................,,,,,,,,,,,,,,,,,,,,,8DNNNNDDDDNDDDDD888D888888888DD88DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNNNNNNNNNNNNNNNNNNNNNNN?::::: ...................................,,,,,,,,,,,,,,,,,,,,.ZDDDD88888DDDDDDDDD888888888888DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNDDNDDDDDDNNNNNNNDNNNNNNNNNNNNNNNNN=::::: .............................,,,,,,,,,,,,,,,,,,,,,,,,,,,,888888888888888DDDDDDDD88888DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNDDDDDDDDDDNNNNNNNNNNNNNNNNNNDNNNNNN:::::: .......................,.,:,...,,,,,,,,,,,,,,,,,,,,,,,,,,OOOO8888888888888DDDDD88DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNNNNNNNNNNNNMNNNNNNDNNNNND:::::: Gianluigi De Palo Gianluigi De Palo .........................,:=:.,,,,,,,,,,,,,,,,,,,,,,,,,.:$ZOO888888888888DD8D8888DDDDDDDDDDDDDDDDDDDDDDDDDDDDNDNDDDDDDDDDDDDDDDDNNNNNNNNNNNNNNNNNNNDNDDNNNND:::::: Assessore alla Famiglia, all’Educazione Councillor for Family, Education and Youth of Roma Capitale ........................,.,:~,,,,,,,,,,,,,,,,,,,,,,,,,,.7ZZO88888D8DD88D888888DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNNNMNNNNNNNNNNNMNNNNDNDDNNNNZ:::::: e ai Giovani di Roma Capitale ..........................,:::,,,,,,,,,,,,,,,,,,,,,,,,,,$ZO88888888888888888DD8DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNNMMNNNNNNNNNNNNNNNNNNDDDNNNNDI~~~::: ..,...,...,,,.....,.......:=:=,,,..,,,,,,,,,,,,,,,,,,,,,?OOO88888888888888DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDNDDDDNNNDDDDDDDDDDNNNMMNNNNNNNNNNNNNNNNNNNDDNNMNNND=:~~::: .:~~~==+?+=~,,...........,~~,.,,,,,,,,,,,,,,,,,,,,,,,,,,.7OOO8888888888DD8DDDDDDDDDDDDDDDDDDDNNNNNNNNNNNNNNNNNNDDDDDDDDDDNNMMMNNNNNNNNDNNNNNNNNNNDNDNNNNNND~::~::: 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=~~7$IZ?+=~~==+?++=++.............................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, $+=IZ$$+=~~~==+++==+~.............................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, OZ??ZZ7+~=~==++++=+?:...............................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 8O$IDZI=~~~=++++++?I.................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 8OZ7DO7?=~==++?++?II...................................................................................,,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 8Z$ZDO?=~=~=++?++?$~...................................................................................,,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, OO$8D$?~~===+?++?$O..........................,,,,,,....................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, OO$88I+=====+?=+I$:.,,...,..................,,,,,,,,...................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, OZZ$O?=~===+???IZ~.,.,..,,,...............,,,,,,,,,,,,.................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, O$$Z?7==~=+???I7+.,,,,..,,................,,,,,,,,,,......................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Z777+I~=~=+????I.,,,,,,..,,.......,,,,,,,,,,,,,,,,,,......................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, $7$?+=~==++???I:.,,,,,....,,,,....,,,,,,,,,,,,,,,,,,......................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ?7II++~==+?I?I?.,.,,,,....,,,,....,,,,,,,,,,,,,,,,,,......................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Il tema “interrogativo” scelto per la XV Biennale dei Giovani The “interrogative” theme Simbyosis? chosen for the XV Biennale ???+++~=++???I,,..,,,,....,,,,........,,,,,,,,,,,,,,..........................,,,,....,,,,................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Artisti dell’Europa e del Mediterraneo, Simbyosis?, pone una de la Méditerranée is a question rich in significance. +??+=~==+??I?,....,,,,....,,,,,...,,,,,,,,,,,,,,,,,...,......................,.,,,,,,,,,,,...................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, domanda ricca di significato. As all the questions, also this one opens an infinitive range ?I?+=~=+I7?I=,....,,......,,,,,...,,,,,,,,,,,,,,,,,...,......................,.,,,,,,,,,,,,..................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ?I?+===+I7??......,.......,,,,,...,,,,,,,,,,,,,,,,,...,......................,.,,,,,,,,,,,,,.................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Come tutte le domande, anche questa apre un ventaglio infinito of articulated possible answers, meditated and mediated by the ???+==+I7$I,...,,.........,,,,.....,,.,,,,........................................,,,,,,,,,..........,.......,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, di possibili risposte articolate, meditate e mediate dal linartistic language, filmic, literary or musical. +++==+?III:..,.....................,,.,,,,,,,,....................................,,,,,,,,,..........,.......,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, guaggio artistico, sia esso quello filmico, letterario o musiIt’s therefore a multiform and various language, where signs ++===?II7+,................,,......,,..................................................,,.....................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, cale. Un linguaggio multiforme e vario, in cui segni e and content are mixed up and that speaks to senses and mind in==~~+I77I,.........................,,..................................................,,.....................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, contenuto si confondono tra loro, che parla ai sensi e alla viting them to a wide and widespread reflection. Faced with the =~~~+I77:,.........................,,..................................................,,.....................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ~:~=I77+...............................................................................,,......................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, mente invitando a una riflessione ampia e diffusa. Di fronte al interrogative point Simbyosis? art can’t reply with assertive, ~~=?7$$:........................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, punto interrogativo di Symbiosis? l’arte non è portata infatti closed and defined concepts. By its nature it defines instead a ~=+I7$+...........................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, a rispondere con proposizioni assertive, chiuse e definite. Per vast area of possibilities, a fluid landscape of visions, a sea =+II77,...........................................................................,,..............................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, sua natura essa definisce invece un territorio vasto di possiof suspension in which answers are substituted by new que~?$ZO+............................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, bilità, un paesaggio fluido di visioni, un mare di sospensione stions, new openings toward the different possibilities of col+$8ZI.............................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 788Z. ............................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, in cui alle risposte si sostituiscono nuove domande, nuove lective knowledge and sensitivity. ZOD,.............................................................................................................,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, aperture verso le diverse possibilità della conoscenza e della The suggested theme, focusing particularly on the issue of coeDD+..............................................................................................................,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, sensibilità collettive. xistence and on forms of common life, has allowed artists to DZ...............................................................................................................,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Il tema suggerito, mettendo in primo piano la questione della question themselves on the actual world, reflecting in particu8,....................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, convivenza e delle forme di vita comune, ha permesso agli artilar on the European continent and the Mediterranean basin. Ter:.....................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, sti di interrogarsi sul mondo attuale, ragionando in particoritories that, in this particular moment, are crossed by intense ......................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, .........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, lare sul continente europeo e sul bacino del Mediterraneo. and conflicting energies, optimistic pressures of the new revo.........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Territori che, in questo momento in particolare, sono attraverlutions and heavy pressures of new conflicts. In some cases ar.........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, sati da energie intense e contrastanti, dalle spinte ottimistitists have looked at the existence and the resistance of .........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, che di nuove rivoluzioni e dalle pressioni pesanti di nuovi communities, the principles of aggregation that bind them, the .........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, .................................................................................................................,........,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, conflitti. In alcuni casi gli artisti hanno guardato all’esiidentity of groups, the real or virtual forms of cohabitation .................................................................................................................,........,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, stenza e alla resistenza delle comunità, ai principi di aggrethat regulate the tissue of the society, the utopias and pro..........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, gazione che le legano, all’identità dei gruppi, alle forme di jects on future, the constructive memory of the past; in other ,.........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, coabitazione reali o virtuali che regolano il tessuto delle socases they have focused on the elements of instability, tension, ::,.......................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, cietà, alle utopie e ai progetti sul futuro, alla memoria cofriction and lack of communication that rend the community, .....,.................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ,......,,..............................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, struttiva del passato; in altri si sono soffermati sugli creating seemingly insurmountable barriers and distances. ,,........,..........................................................................................................,....,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, elementi di discontinuità, di tensione, di attrito e di incomuTo look beyond, through, inside things and facts. To find new .....................................................................................................................,....,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, nicabilità che lacerano la collettività, creando barriere e diways to understand the world in which we live. To propose new .....................................................................................................................,....,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, stanze apparentemente insormontabili. definitions of identity and otherness to suggest expressive ..........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Guardare oltre, attraverso, dentro le cose e i fatti. Trovare practical and forms of communication that can break down the ..........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ..........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, nuovi modi per comprendere il mondo in cui viviamo. Proporre boundaries and embrace the differences. .........................................................................................................................,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, nuove definizioni di identità e di alterità per suggerire praSimbyosis? Living together? .........................................................................................................................,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, tiche espressive e forme di comunicazione in grado di abbattere Art answers to this question stating that it is still possible, .........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, i confini e di abbracciare le differenze. in the diversity of languages, expressive forms and ideas. .........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Symbiosis? Vivere insieme? .........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ...........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Costanza Paissan L’arte risponde alla domanda dicendo che questo è ancora possi...........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, bile, nella diversità dei linguaggi, delle forme espressive e ...........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, delle idee. ...........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ...........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Costanza Paissan ...........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ...........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ..........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ..........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ..........................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, .............................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, .............................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, .............................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ..............................................................................................................................,,,,....,,,,,,,,,,,,,,..,,,,,,,,,,, ..............................................................................................................................,,,,............,,,,.,,,,,,,....,,, ......................................................................................................................................,,,,,..,,,,,,,,,,,,,,,,,... ..................................................................................................................................,,,,....,..,,,,,,,,,....,,,,,,, ........................................................................,.........................................................,,,,,,,,,..,,,,,,,,,....,,,,,,, .........................................................................,.....................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,....,,, ...............................................................................................................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ..........................................................................,..................................................,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ..........................................................................,,.................................................,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ...........................................................................,.................................................,.,,,,,,,,,,,,,,,,,,,,,,,....,,,,,,, ...........................................................................,.................................................,,,,,..,,,,,,,,,,,,,,,,,,,,,,,,,,,,,


10

Cinema Giacomo Abbruzzese, Italia / Italy Association Rencontres Musicales, Francia / France Sami Natsheh Barragán, Spagna / Spain Shota Bukoshi, Kosovo Fabrizio Cotognini, Italia / Italy Gianluca e Massimiliano De Serio, Italia / Italy Alberto Diana, Italia / Italy Urška Djukić, Slovenia Valentina Ferrandes, Italia / Italy Matteo Giacchella, Italia / Italy Ivan Ivanovski, Repubblica di Macedonia / Republic of Macedonia Khaled Jarrar, Palestina / Palestine Marco Longo, Italia / Italy Manfredi Lucibello, Italia / Italy Vladimir Macar, Serbia Cristiano Mourato, Portogallo / Portugal Manon Nammour, Libano / Lebanon Darijan Pejovski, Repubblica di Macedonia / Republic of Macedonia Ergys Peqini, Albania Gabriele Piazzesi, Italia / Italy Eirini Steirou, Grecia / Greece Lino Strangis, Italia / Italy Tarek (Tarek Korkomaz), Libano / Lebanon José Trigueiros, Portogallo / Portugal Almudena Verdés Durá, Spagna / Spain Bianca Maria Zammit, Malta

Letteratura / Literature Nermin Ahmić, Bosnia Herzegovina Lejla Alimanović, Bosnia Herzegovina Leïla Anis, Francia / France Keith Azzopardi, Malta Hend Bakr, Egitto / Egypt Keith Borg, Malta Clery Celeste, Italia / Italy Fabio Chiriatti, Italia / Italy Michele Ciavarella, Italia / Italy Daniel Marcus Clark, Regno Unito / United Kingdom Marwa Diab, Egitto / Egypt Valentina Facchini, Italia / Italy Andrés González Andino, Spagna / Spain Zhivko Grozdanoski, Repubblica di Macedonia / Republic of Macedonia Andrew Jamison, Regno Unito / United Kingdom Mohamed Korna, Egitto / Egypt Mari Koski, Finlandia / Finland V.S. Luoma-aho, Finlandia / Finland Ana Pino, Spagna / Spain Point Blank Poets, Regno Unito / United Kingdom Edlira Rama, Albania Faris Sabaneh, Palestina / Palestine Arbër Selmani, Kosovo José Trigueiros, Portogallo / Portugal Julijana Velichkovska, Repubblica di Macedonia / Republic of Macedonia Stergios Vrizas, Grecia /Greece

Musica / Music Hyphen Hyphen, Francia / France Liburn Jupolli, Kosovo Scarlett O’Hanna, Francia / France Si Tew, Regno Unito / United Kingdom


11 PROGRAMMA / PROGRAM

PROGRAMMA / PROGRAM 16/12

17/12

READING ROOM dalle / from 6.30 pm

Keith Azzopardi, Malta Fabio Chiriatti, Italia / Italy Andrew Jamison, Regno Unito / United Kingdom Faris Sabaneh, Palestina / Palestine Keith Borg, Malta Stergios Vrizas, Grecia / Greece

Leïla Anis, Francia / France Michele Ciavarella, Italia / Italy Arbër Selmani, Kosovo Clery Celeste, Italia / Italy Ana Pino, Spagna / Spain V.S. Luoma-aho, Finlandia / Finland Mari Koski, Finlandia / Finland

AUDITORIUM dalle / from 6.30 pm * dalle / from 7.30 pm

Lejla Alimanović, Bosnia Herzegovina Hend Bakr, Egitto / Egypt Edlira Rama, Albania Mohamed Korna, Egitto / Egypt Zhivko Grozdanoski, Repubblica di Macedonia / Republic of Macedonia Andrés González Andino, Spagna / Spain

José Trigueiros, Portogallo / Portugal Nermin Ahmić, Bosnia Herzegovina Marwa Diab, Egitto / Egypt Julijana Velichkovska, Repubblica di Macedonia / Republic of Macedonia

VIDEO TUNNEL dalle / from 6.30 pm alle / to 10.00 pm

Giacomo Abbruzzese, Italia / Italy Eirini Steirou, Grecia / Greece Khaled Jarrar, Palestina / Palestine Manfredi Lucibello, Italia / Italy Marco Longo, Italia / Italy Valentina Ferrandes, Italia / Italy Gianluca e Massimiliano De Serio, Italia / Italy

Matteo Giacchella, Italia / Italy Lino Strangis, Italia / Italy Ivan Ivanovski, Repubblica di Macedonia / Republic of Macedonia Cristiano Mourato, Portogallo / Portugal Vladimir Macar, Serbia Ergys Peqini, Albania Darijan Pejovski, Repubblica di Macedonia / Republic of Macedonia Fabrizio Cotognini, Italia / Italy Manon Nammour, Libano / Lebanon Tarek (Tarek Korkomaz), Libano / Lebanon

FOYER dalle / from 9.00 pm alle / to 00.00 pm

Point Blank Poets, Regno Unito / United Kingdom Scarlett O’Hanna, Francia / France Si Tew, Regno Unito / United Kingdom

Valentina Facchini, Italia / Italy Daniel Marcus Clark, Regno Unito / United Kingdom Liburn Jupolli, Kosovo Hyphen Hyphen, Francia / France

VENERDI FRIDAY

SALA CONFERENZE / CONFERENCE ROOM dalle / from 6.30 pm alle / to 10.00 pm

SABATO SATURDAY

Bianca Maria Zammit, Malta Association Rencontres Musicales, Francia / France Alberto Diana, Italia / Italy Urška Djukić , Slovenia Sami Natsheh Barragán, Spagna / Spain Almudena Verdés Durá, Spagna / Spain José Trigueiros, Portogallo / Portugal Gabriele Piazzesi, Italia / Italy Shota Bukoshi, Kosovo


SALA ENEL

BIGLIETTERIA TICKETS

3

2

1 Livello / Level 0 A

ENTRATA ENTRANCE

LIBRERIA BOOKSHOP

16-17/12 2011 CINEMA, LETTERATURA E MUSICA CINEMA, LITERATURE AND MUSIC Dalle / from 06.00 pm to 00.00 www.incontragiovani.it www.bjcem.org

1

Auditorium

2

Foyer

3

Video Tunnel

A

Guardaroba Cloak Room

COME ARRIVARE AL MACRO Con i mezzi pubblici con partenza da Roma Termini Prendere l’autobus 90 o 90D per 2 fermate. Scendere a Porta Pia e percorrere via Nomentana per 300 metri. Svoltare a sinistra in via Cagliari e proseguire per 250 metri fino all’angolo con via Nizza. Oppure, prendere l’autobus 38 per 6 fermate e scendere alla fermata Nizza/V.le Regina Margherita. L’angolo di via Nizza con via Cagliari è a 50 metri dalla fermata. Per ulteriori info www.atac.roma.it

Con i mezzi pubblici con partenza da Roma Ostiense Recarsi alla fermata Piramide. Prendere la linea Metro B (Rebibbia) per 4 fermate. Scendere alla fermata Termini. Seguire le indicazioni con partenza da Roma Termini.

Con i mezzi pubblici con partenza dall’aeroporto di Fiumicino Prendere il treno Leonardo Express e scendere alla Stazione Termini di Roma. Seguire le indicazioni con partenza da Roma Termini.


5

HALL FOYER

4 Livello / Level 1 4

Reading room

5

Sala conferenze Conference room

GALLERIA BIANCA MACRO CAFE

16-17/12 2011 CINEMA, LETTERATURA E MUSICA CINEMA, LITERATURE AND MUSIC Dalle / from 06.00 pm to 00.00 www.incontragiovani.it www.bjcem.org

HOW TO REACH MACRO Using public transport, from Rome Termini station Take line n. 90 or 90D for 2 stops. Get off at Porta Pia and walk on via Nomentana for 300 metres. Turn left in via Cagliari and walk for 250 metres to the corner with via Nizza. Take line n. 38 for 6 stops and get off at Nizza /V.le Regina Margherita stop. Walk 50 metres to the corner via Nizza /via Cagliari. For further information www.atac.roma.it

Using public transport, from Rome Ostiense station Go to stop Take metro Get off at Follow the

Piramide. line B (Rebibbia) for 4 stops. stop Termini. directions from Rome Termini station.

Using public transport from Fiumicino Airport Take train Leonardo Express and get off at Termini station. Follow the directions from Rome Termini Station.

USCITA EXIT


14 // CINEMA

CINEMA

CUBA SUR ECOUTE

Adrian Galeazzi - Emilie Saccoccio - Florence Chirié - Lucie Roy

GIACOMO ABBRUZZESE

ASSOCIATION RENCONTRES MUSICALES FLORENCE CHIRIÉ, ADRIAN GALEAZZI, LUCIE ROY, EMILIE SACCOCCIO

ITALIA / ITALY FRANCIA / FRANCE

Nato nel / Born 1983 Vive e lavora a Taranto, Italia Lives and works in Taranto Italy

Vivono e lavorano in Francia Live and work in France

Archipel, 2010 (Arcipelago / Archipelago)

Cuba sur écoute, 2010 (Cuba intercettata / Wiretapped Cuba)

VENERDI 16 DICEMBRE, VIDEO TUNNEL FRIDAY DECEMBER 16TH, VIDEO TUNNEL

SABATO 17 DICEMBRE, SALA CONFERENZE SATURDAY DECEMBER 17TH, CONFERENCE ROOM

Prima di iniziare a girare il cortometraggio Archipel (Arcipelago), ho trascorso due anni in Palestina e Israele, un territorio estremamente frammentato e allo stesso tempo mitico, definito con diversi nomi (Palestina, Israele, Terra Santa) a seconda di chi parla. Desideravo proporre una storia ordinaria, incentrata su un uomo che inizia a muoversi per necessità. Abed è alla costante ricerca di punti di entrata e di uscita, fino a che non si smarrisce in un territorio che non riconosce più. Negando la divisione politica attuale del territorio, Archipel mostra le costrizioni, le difficoltà di un viaggio misterioso, rifuggendo dalla spettacolarizzazione. Non c’è nulla di straordinario nell’organizzazione dell’oppressione. Giacomo Abbruzzese

2008: Florence Chirié, Adrian Galeazzi, Lucie Roy ed Emilie Saccoccio condividono la passione per il cinema e la musica. Iniziano a scrivere insieme un film basato sull’idea del tempo musicale lento. 2009: I quattro autori si recano a Cuba, dove incontrano molti musicisti e iniziano a girare il film. 2010: Quasi 30 ore di girato vengono visionate, selezionate e montate. 2011: La maturazione è raggiunta e il film prende forma. Cuba sur écoute (Cuba intercettata) è una fusione originale di documentario apolitico e road-movie musicale e nasce dalla passione di quattro giovani animati dall’esigenza di essere sinceri, non oggettivi. Basato sulla sensibilità per la vita degli abitanti di Cuba, sta tra il divertimento e lo splendore della musica nella notte.

Before starting to shoot the short film Archipel (Archipelago), I spent two years in Palestine and Israel, an extremely fragmented, yet mythical, territory, identified with different appellations (Palestine, Israel, Holy Land) depending on the enunciator. I desired an ordinary story, one of a man who starts moving out of necessity. Abed is bound to a constantly search for points of entrance and exit, until he gets lost in a territory that he doesn’t recognize anymore. Denying the current political partition of the territory, Archipel displays the constrictions, the difficulties of a mysterious journey, rejecting the use of the spectacular. There is nothing extraordinary in the organization of oppression. Giacomo Abbruzzese

2008: Florence Chirié, Adrian Galeazzi, Lucie Roy and Emilie Saccoccio share the same passion for video and music. Together they start writing a movie based on the idea of low musical tempo. 2009: The four authors travel to Cuba where they meet many local musicians and start to film. 2010: Nearly 30 hours of rushes have to be viewed, selected and put together. 2011: Maturation is reached and the film is created. Cuba sur écoute (Wiretapped Cuba) is an original blend of apolitical documentary and musical road-movie, born from the passion of four youngsters who wished to be sincere, not objective. This film is sensitive to the lives of Cubans, it stands somewhere between fun that runs out and songs blazing in the night.


15 // CINEMA

SAMI NATSHEH BARRAGÁN

SHOTA BUKOSHI

SPAGNA / SPAIN

KOSOVO

Nato nel / Born 1978

Nato nel / Born 1983

Vive e lavora ad Alicante, Spagna Lives and works in Alicante, Spain

Vive e lavora a Pristina, Kosovo Lives and works in Pristina, Kosovo

Espagueti Western, 2008 (Spaghetti Western)

Dy rrëfine dashurie, 2008 (Due storie d’amore / Two Love Stories)

SABATO 17 DICEMBRE, SALA CONFERENZE SATURDAY DECEMBER 17TH, CONFERENCE ROOM

Aureola e sht hurur, 2008 (Aureola corrotta / Debauched Halo)

Espagueti Western (Spaghetti Western) è un cortometraggio animato che presenta le avventure di Spaghetti Kid, il più veloce cowboy del West, e dei suoi feroci nemici: il temibile indiano Macaroni e il malefico Jack Noodle. Spaghetti Western è il primo film di animazione di Sami Natsheh, laureato in Comunicazione Audiovisiva presso l’Università di Siviglia, regista di alcuni cortometraggi e scrittore presso la rivista pasadizo.com. È stato nominato miglior cortometraggio ai Premios Goya.

SABATO 17 DICEMBRE, SALA CONFERENZE SATURDAY DECEMBER 17TH, CONFERENCE ROOM

Espagueti Western (Spaghetti Western) is an animated short film that presents the adventures of Spaghetti Kid, the fastest cowboy in the West, and his fierce enemies: the fearsome Indian Macaroni and evil Jack Noodle. Spaghetti Western is the first animation film of Sami Natsheh, a graduate of Audiovisual Communication of Seville University, some short films director and contributing writer in the fantastic magazine pasadizo.com. It was nominated for Best Short film Award at Goya Awards.

In Dy rrëfine dashurie (Due storie d’amore), la vita di due coppie rom permette di accedere a un mondo parallelo. Istantanee di un ambiente di vita, amore, lavoro e privazione si susseguono, incuriosendo lo spettatore. Il tono e le immagini, silenziose e semplici, producono un insieme di emozioni e sensazioni, dalla contentezza alla disperazione, dalla leggerezza alla sobrietà e viceversa. In Aureola e sht hurur (Aureola corrotta), una giovane donna istruita si fa influenzare dalle aspettative della società e cerca di trovare un compagno. In questo percorso deve compiere varie trasformazioni interiori ed esteriori, in alcuni casi impercettibili, in altri violente, ma sempre guidate da altri. Visivamente il film gioca con una gamma sorprendentemente ampia di convenzioni, che nel loro insieme producono un linguaggio artificiale, riflesso dei valori e delle norme interiorizzate dalla protagonista.

In Dy rrëfine dashurie (Two Love Stories), a visit to two Roma couples opens up a parallel world. Snapshots from a circle of life, love, labour and loss intertwine intriguing the viewer. The tone and the images, overall quiet and matter-of-fact, convey a wide range of emotions and moods, from vivacious to hopeless, from light to sober and back. In Aureola e sht hurur (Debauched Halo), an educated young woman yields to society’s expectations and tries to find a man. In this process, she must undergo various inner and outward changes, subtle at times, violent at others, but always managed by others. Visually, the film plays with a surprisingly broad array of conventions that combined give birth to a highly artificial construct, which reflects the values and standards internalised by the protagonist.


16 // CINEMA

FABRIZIO COTOGNINI

GIANLUCA E MASSIMILIANO DE SERIO

IITALIA / ITALY

ITALIA / ITALY

Nato nel / Born 1983

Nati nel / Born 1978

Vive e lavora a Macerata, Italia Lives and works in Macerata, Italy

Vivono e lavorano a Torino, Italia Live and work in Turin, Italy

12 Years, 2011 (12 anni)

Bakroman, 2010

SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL

VENERDI 16 DICEMBRE, VIDEO TUNNEL FRIDAY DECEMBER 16TH, VIDEO TUNNEL

La riflessione da cui è nato questo lavoro è una domanda: possono gli esseri umani diventare essi stessi simboli di rappresentazione? Penso ci sia un aspetto di ironia nella sfiducia contemporanea nella figura del leader politico, religioso o ideologico. Trovo interessante il paradosso prodotto dal contrasto tra una figura emblematica e la sua possible collocazione nel presente. 12 Years (12 anni) nasce come un desiderio di capire e di ribellarsi. Fabrizio Cotognini

In lingua moré il termine bakroman significa “ragazzo di strada”: sono più di seicento, infatti, i ragazzi che vivono senza niente da mangiare, né un tetto sotto cui dormire per le strade di Ouagadougou, la capitale del Burkina Faso. Eppure, per difendere i propri diritti e coltivare le proprie speranze, si sono uniti in una sorta di sindacato che sembra rendere più concreta la possibilità, un giorno, di affrancarsi da quella condizione. Il film vuole essere un viaggio nelle parole che nutrono la vita di questi ragazzi, sorprendente strumento per la loro sopravvivenza. Grazie alla parola i bakroman lottano, parlano, discutono, crescono, vivono. Abbiamo cercato di testimoniare il loro sforzo e la loro lotta fatta di riunioni, incontri, dialoghi in cui discutono e cercano di risolvere i problemi di ogni giorno. I ragazzi e le ragazze iniziano un percorso lento e difficile di uscita dalla strada: una battaglia fatta di chilometri a piedi, di polvere, di corpi violati. Miglior Documentario al Torino Film Festival e al festival Terre di Cinema di Parigi.

The reflection from which this work was born is a question: could ever human beings become precious symbols of representation? I think there is an irony in the contemporary distrust towards political, religious or ideological leader. I am interested in the paradox that comes from the contrast between an emblematic figure and its possible placement in the present. 12 Years was born as an aim to argue and to rebel. Fabrizio Cotognini

In moré the term “bakroman” means “street child.” There are over six hundred children living on the streets of Ouagadougou, the capital of Burkina Faso, without anything to eat or a place to sleep. And yet, to defend their rights and nurture their hopes, they have united in a sort of union which seems to give strength to the possibility that, one day, they will leave this condition behind. The film is a voyage through the words that nurture the life of these children; it is a surprising instrument for their survival. Thanks to words, the bakroman fight, talk, discuss, grow, live. We tried to bear witness to their efforts and to their struggle, made of meetings, encounters, conversations, in which they discuss things and try to resolve their everyday problems. The boys and girls begin a long and difficult voyage to leave their street life behind: it is a battle made of kilometers they walk on foot, of dust, of violated bodies. Best Documentary at the Torino Film Festival and at te festival Terra di Cinema in Paris.


17 // CINEMA

ALBERTO DIANA

URŠKA DJUKIĆ

IITALIA / ITALY

SLOVENIA

Nato nel / Born 1989

Nata nel / Born 1986

Vive e lavora in Italia Lives and works in Italy

Vive e lavora a Medvode, Slovenia Lives and works in Medovode, Slovenia

Mute, 2010

First Day at Work, 2010 (Primo giorno di lavoro)

SABATO 17 DICEMBRE, SALA CONFERENZE SATURDAY DECEMBER 17TH, CONFERENCE ROOM

SABATO 17 DICEMBRE, SALA CONFERENZE SATURDAY DECEMBER 17TH, CONFERENCE ROOM

Diverse persone, la stessa città. Diversi luoghi, la stessa musica. È possibile vivere insieme e trovare i propri spazi: strade, piazze, stazioni della metropolitana. Ogni habitat urbano è uno spazio sociale in cui la comprensione, il cambiamento, la conoscenza sono possibili; dove le persone parlano tra loro e si scambiamo idee. Ma quando la nostra società è resa muta da governi nemici della cultura, gli individui non possono comunicare. Allora la musica e l’arte diventano i soli veicoli della comprensione, della conoscenza, della simbiosi. Mute è ambientato a Cagliari, una città silenziosa e isolata. Alcuni giovani eludono la censura grazie a delle cuffie da cui si irradia una musica cumbia gioiosa e sensuale, un’iniezione di vita.

Per una coincidenza tre antieroi (tre alcolisti che conducono passivamente la loro esistenza in uno spazio senza tempo) diventano eroi per un attimo. First Day at Work (Primo giorno di lavoro) è un dramma satirico, fatto di tradizione slovena unita a realismo sociale, filosofia dell’assurdo e humour balcanico. Analizzando l’ambiente di un bar appartato, il film affronta temi sociali più ampi. Parla della situazione locale, ma anche dell’impatto culturale della globalizzazione, dei traumi personali e dei problemi dell’epoca moderna. Queste ulcere delle società occidentali capitalistiche portano gli individui alla passività, all’indifferenza generale e all’arrendevolezza di fronte al destino. La repressione e la mancata realizzazione dei propri desideri conduce a questa apatia sociale generalizzata, priva di partecipazione attiva, che può condurre solamente alla distruzione finale.

Different people, the same city. Different places, the same music. It’s possible to live together finding the spaces we need: streets, squares, metro stations. Every urban habitat is a social place where assimilation, change, knowledge are possible; where people talk to one another, ideas are exchanged. But when our society is mute, due to our anti-culture governments, people can’t speak with one another. So, music and the arts become the only vehicles of assimilation, knowledge, symbiosis. Mute is set in Cagliari, a silent and isolated city. Some young people elude censorship through a pair of headphones, from which cheerful and sensual cumbia music spreads all around, acting like an injection of life.

Due to coincidence, three anti-heroes (three alcoholics, existing passively in timeless space) become heroes for a brief moment. First Day At Work is a satirical drama of Slovenian heritage mixed with social realism, philosophy of the absurd and the impact of the Balkan humour. Through analyzing the case of a remote drinking bar, the film addresses broader social issues. It raises local issues, but also the cultural impact of globalization, personal trauma and the problems of modern times. These ulcers of capitalist oriented Western societies lead the individuals to passivity, general disengagement and surrendering to their fate. Repression and unrealized desires lead to this general social apathy that, without active participation, can lead only to ultimate destruction.


18 // CINEMA

VALENTINA FERRANDES

MATTEO GIACCHELLA

ITALIA / ITALY

ITALIA / ITALY

Nata nel / Born 1982

Nato nel / Born 1978

Vive e lavora a Policoro, Matera, Italia Lives and works in Policoro, Matera, Italy

Vive e lavora ad Ancona, Italia Lives and works in Ancona, Italy

The Oyster Effect, 2010 (L’effetto ostrica)

Contrappassouno (Tele-Sinners), 2006

VENERDI 16 DICEMBRE, VIDEO TUNNEL FRIDAY DECEMBER 16TH, VIDEO TUNNEL

SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL

Secondo la credenza popolare, il tarantismo, uno stato clinico che si riscontrava un tempo nell’Italia del sud, era provocato dal morso di un ragno velenoso chiamato tarantola, capace di generare la paralisi in chi lo subiva, nella maggioranza dei casi donne. L’unica cura era una frenetica danza indotta da una musica dal ritmo incalzante chiamata tarantella. Usando come punto di partenza estratti di documentari, The Oyster Effect presenta un ritratto della femminilità e dell’isteria nella forma di una serie di parallelismi tra spazi architettonici, costruzioni, paesaggi e racconti che li riguardano. Il tentativo di mettere in relazione le specifiche rappresentazioni della soggettività femminile quali prodotti dei loro ambienti culturali, nell’Europa del nord e del sud, è negato dalla relazione conflittuale tra immagine e voce narrante.

Contrappassouno (Tele-Sinners), un video di animazione in stopmotion, in cui personaggi e scenografia sono stati costruiti a mano con l’uso di oggetti riciclati, si presenta come un’allegoria grottesca della relazione tra uomo e televisione, vista come il contenitore dei sette peccati capitali. Uno spettatore subisce passivamente questo legame univoco e ne diventa schiavo, il personaggio principale del cortometraggio alimenta una macchina diabolica fino a che non ne viene completamente risucchiato. Le idee espresse scaturiscono dall’osservazione della relazione simbiotica e dannosa che le nuove generazioni hanno con le nuove tecnologie: invece di usarle ne diventano totalmente dipendenti.

According to popular belief, “tarantism”, a medical condition that used to occur in South Italy, was provoked by the bite of a poisonous spider called Tarantula. Causing paralysis and mainly affecting women, it could only be cured through frantic dancing induced by a particularly fast paced music called Tarantella. Using as a departure point excerpts of documentary footage, the portrayal of women and hysteria in The Oyster Effect is shown as a series of parallels between built environments, architectural spaces, landscapes and their narration. The attempt to bridge the specific representations of women’s subjectivity as products of their cultural environments, in northern and southern Europe, is persistently negated by the conflicting relation between image and narrating voice.

Contrappassouno (Tele-Sinners), a stop motion animation video, of which the characters and scenography have been manufactured with recycled materials only, arises as a grotesque allegory of the relationship between man and television media, seen as a container of the seven deadly sins. A spectator that passively fuels this one-way operational link and becomes its slave, the main character of the short film fuels a devilish machine until he is completely drawn in. The ideas expressed stem from an observation of the symbiotic and often noxious relationship that the new generations establish with new technology: instead of using technology they become totally addicted and subdued to it.


19 // CINEMA

IVAN IVANOVSKI

KHALED JARRAR

REPUBBLICA DI MACEDONIA / REPUBLIC OF MACEDONIA

PALESTINA / PALESTINE

Nato nel / Born 1983

Nato nel / Born 1976

Vive e lavora a Skopje, Macedonia Lives and works in Skopje, Macedonia

Vive e lavora a Ramallah, Palestina Lives and works in Ramallah, Palestine

Humans Nailing, 2008

I. Soldier, 2010

SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL

VENERDI 16 DICEMBRE, VIDEO TUNNEL FRIDAY DECEMBER 16TH, VIDEO TUNNEL

Humans Nailing è un film di animazione in stop-motion che presenta due elementi storicamente opposti: il potere, rappresentato simbolicamente da chiodi che costruiscono una città, e l’ideologia, simbolicamente rappresentata dall’argilla di cui sono fatti gli esseri umani.

Il concetto dell’armonia collettiva è molto importante nell’esercito. Il sistema pone l’identità del gruppo al di sopra di quella dell’individuo. Di conseguenza pochissimo spazio viene lasciato allo sviluppo dell’individualità. L’addestramento obbliga il soldato a comportarsi come parte di un insieme e a mettere da parte i propri interessi in nome del gruppo. Gli stessi principi vengono applicati anche al normale luogo di lavoro, dove l’impiegato si sottopone all’insieme dell’azienda. È estremamente difficile opporsi al sistema, sovvertire l’idea di collettività. Il film I.Soldier esplora questi temi.

Humans Nailing is a stop motion animation film that presents two historically and always actual opposing elements: power, symbolically represented by nails constructing a city of their own, and ideology, symbolically represented by clay, from which humans are formed.

The concept of collective harmony is of great importance in the army. The system puts the identity of the group above the identity of the individual. Consequently, there is only little room left for developing individuality, the training obliges the soldier to behave as part of a collective and to put aside one’s own interests on behalf of the group. Later on, these principles are applied to the workplace, where the employee is committed to the collective of the company. It is extremely hard to overcome the system, very difficult to overthrow the atmosphere of collectivism. The film I. Soldier explores these issues.


20 // CINEMA

MARCO LONGO

MANFREDI LUCIBELLO

ITALIA / ITALY

ITALIA / ITALY

Nato nel / Born 1986

Nato nel / Born 1984

Vive e lavora a Genova, Italia Lives and works in Genoa, Italy

Vive e lavora in Italia Lives and works in Italy

Sorelle, 2010 (Sisters)

Storia di Nessuno, 2010 (Story of Nobody)

VENERDI 16 DICEMBRE, VIDEO TUNNEL FRIDAY DECEMBER 16TH, VIDEO TUNNEL

VENERDI 16 DICEMBRE, VIDEO TUNNEL FRIDAY DECEMBER 16TH, VIDEO TUNNEL

Né un documentario né un film, Sorelle tenta di comunicare una storia vera di solidarietà femminile che nutre un legame profondo, in cui stili di vita, culture e sensibilità differenti rendono due donne più forti e danno loro il coraggio per iniziare una nuova vita. Un'altra donna, una scrittrice, conosce la loro unione. La sua casa accogliente è il posto migliore per raccontare questa storia. Il film non ha una direzione definita, ma è aperto a ciò che è accidentale e inatteso, partendo dall’idea dell’essere umano quale soggetto e non oggetto dell’arte cinematografica.

Storia di Nessuno racconta la storia di dal comune, più solitario che solo, che tre lavora e riflette sul passato e sul film ha vinto numerosi premi italiani e

Neither a documentary nor a fiction film, Sorelle (Sisters) tries to communicate a true story of female solidarity that nourishes a deeper bond, in which different ways of life, different cultures and different sensitivities make two women stronger and give them courage to start a new life. Another woman, a writer, knows their union. Her welcoming home is the best place for the story to be told. The film has no planned direction, it is open to what is contingent and unexpected, considering the human being as the subject, not the object, in the art of cinema.

un uomo grottesco e fuori racconta la sua vita menpresente dell’Italia. Il internazionali.

Storia di Nessuno (Story of Nobody) tells the story of an unusual, grotesque man who is more lonely than alone, who talks about his life as he works and muses on the past and present of Italy. The film has won numerous Italian and international awards.


21 // CINEMA

VLADIMIR MACAR

CRISTIANO MOURATO

SERBIA

PORTOGALLO / PORTUGAL

Nato nel / Born 1982

Nato nel / Born 1986

Vive e lavora a Belgrado, Serbia Lives and works in Belgrade, Serbia

Vive e lavora a Santarém, Portogallo Lives and works in Santarém, Portugal

Head and Feet, 2010-2011 (Testa e piedi)

Smolik, 2010

SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL

SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL

In conformità con le pratiche artistiche basate sull’introduzione di nuovi media nelle discipline tradizionali, Head And Feet (Testa e piedi) si basa sulla musica generata dal computer e le sue possibilità di visualizzazione. La messa in discussione del corpo tramite l’esperienza della musica è vista attraverso la simbiosi della testa, intesa come contenitore di pensieri e idee, e dei piedi, strumenti dell’esperienza e del movimento fisico.

Lontano da un racconto prosaico, Smolik è la storia di due personaggi a confronto. I loro sentimenti sono principalmente comunicati attraverso il movimento. Di fatto, questo progetto è un esperimento basato sull’idea di mescolare performance/danza contemporanea, astrazione emozionale e animazione. Nel risultato, l’espressione va oltre i semplici gesti e costruisce relazioni psicologiche attraverso la poetica del movimento.

In accordance with art practices based on the introduction of new media in traditionally defined art disciplines, Head And Feet is based on computer generated music and the possibility of its visualization. Problematization of the body in the experience of music is seen through the symbiosis of the head, as thoughts and ideas, and feet, as experience and physical movement.

Away from a prosaic narrative, Smolik is the story of two characters in confrontation. Their feelings are mainly communicated through movement. In fact, this project is an experimentation based on the idea of blending performance/contemporary dance, emotional abstraction and animation. In the outcome, the expression goes beyond simple gestures, building psychological relations through the poetics of movement.


22 // CINEMA

MANON NAMMOUR

DARIJAN PEJOVSKI

LIBANO / LEBANON

REPUBBLICA DI MACEDONIA / REPUBLIC OF MACEDONIA

Nata nel / Born 1991

Nato nel / Born 1983

Vive e lavora a Awkar, Libano Lives and works in Awkar, Lebanon

Vive e lavora a Skopje, Macedonia Lives and works in Skopje, Macedonia

Manon Experience 1, 2, 3, 2010 (Esperienza di Manon 1, 2, 3)

City Bus Symphony, 2003 (Sinfonia dell’autobus)

SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL

SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL

Nella serie di cortometraggi dal titolo Manon Experience (Esperienza di Manon), Manon Nammour, studentessa presso il Dipartimento Radio, TV e Film della Notre Dame University in Libano, sperimenta l’utilizzo di diversi approcci estetici al fine di presentare un insieme di argomenti differenti, come il ciclo della vita al centro della tecnologia, il concetto che ogni giorno viene scoperta una nuova idea e un nuovo mistero si rivela.

L’idea di base del film City Bus Symphony (Sinfonia dell’autobus) è quella di presentare una sorta di conflitto tra le persone e le macchine. La gente è rappresentata come una massa, poiché i veri protagonisti del film sono gli autobus. Si tratta della vita degli autobus. Una vita raccontata attraverso il viaggio di una giornata nella città. L’intera storia è presentata in una sequenza ritmica di immagini e suoni senza dialogo, con l’aggiunta di impressioni personali.

In the series of short films entitled Manon Experience, Manon Nammour, a senior student in the Radio, TV and Film Department at the Notre Dame University in Lebanon experiments with using different aesthetic approaches to present a variety of topics, such as the life cycle in the middle of technology, the notion that every day a new idea is found and a new mystery is revealed.

The basic idea of the film City Bus Symphony is to show a kind of conflict between people and machines. People are portrayed as a crowd because the buses are actually the main characters in the film. It is about the life of the buses. A life depicted in a one-day journey through the city. The whole story is presented in a non-dialogue, rhythmic way of picture and sound with a dose of personal impression.


23 // CINEMA

ERGYS PEQINI

GABRIELE PIAZZESI

ALBANIA

ITALIA / ITALY

Nato nel / Born 1982

Nato nel / Born 1983

Vive e lavora in Albania Lives and works in Albania

Vive e lavora a Sieci, Firenze, Italia Lives and works in Sieci, Florence, Italy

Njolla, 2011 (Sfogo / Rash)

Occhiali dal sole, 2011 (Glasses from the sun)

SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL

SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL

L’Arte è uno strumento per mostrare la vita reale. Alcune storie che appaiono molto semplici, sono l’essenza della nostra vita. A volte le storie e le cose più importanti sono di fronte a noi, ma noi non le vediamo. Mostriamole attraverso l’arte. Il cortometraggio Njolla (Sfogo) è la storia di un bambino che vive solo con sua madre. Il film mostra la sua vita e i suoi sforzi per superare le difficoltà di ogni giorno e per affrontare l’enigma della vita di sua madre.

L’alieno pacifico Occhiali dal sole visita una scuola. La sua missione è quella di comprendere il significato della parola “conflitto”, ignoto al suo popolo. Consapevole che uno dei principali problemi sulla Terra è la difficoltà di comunicazione, cerca di dialogare con gli studenti attraverso gli strumenti tecnologici che essi usano regolarmente: mostra un videomessaggio registrato su un cellulare o appare all’improvviso sui monitor dei computer degli studenti. Gli studenti cercano di spiegargli il concetto e di aiutarlo a capire che cosa sia il conflitto e cosa potrebbe accadere se fosse esteso su larga scala.

Art is a tool to show real life. Some stories that seem very simple are the essence of our life. Sometimes the stories and the most important things are in front of us but we don’t see them. Let’s show them through art. The short film Njolla (Rash) is the story of a little boy who lives alone with his mother. The film shows his life and his efforts to overcome everyday difficulties as well as to cope with the enigma of his mother’s life.

The peaceful alien Occhiali dal sole (Glasses From The Sun) visits a school. His mission is to understand the concept of the word “conflict” that is unknown to his people. Knowing that one of the main problems on Earth is the difficulty in communication, he tries to communicate with the students through the technological instruments that they currently use: he shows a video message recorded on a cell phone or he appears suddenly on the computer monitors of the students. Students try to communicate the concept to him and help him understand what conflict is and what could happen if it was transposed on a large-scale.


24 // CINEMA

EIRINI STEIROU

LINO STRANGIS

GRECIA / GREECE

ITALIA / ITALY

Nata nel / Born 1981

Nato nel / Born 1981

Vive e lavora ad Atene, Grecia Lives and works in Athens, Greece

Vive e lavora a Roma, Italia Lives and works in Rome, Italy

Counterattack, 2011 (Contrattacco)

The Critical Mass Movement, 2011

VENERDI 16 DICEMBRE, VIDEO TUNNEL FRIDAY DECEMBER 16TH, VIDEO TUNNEL

SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL

La guerra è una prigione per l’anima umana. Soltanto la pace libera e salva. In Counterattack (Contrattacco), una breve film in cui The Hurt Locker incontra The Birds, questo principio è illustrato attraverso la paradossale simbiosi tra un soldato e uno stormo di piccioni. È presentato attraverso la storia di un conflitto sullo spazio ristretto di un container. L’uomo e la natura pretendono lo stesso spazio, in modo dinamico. Il soldato rappresenta l’occupazione, la violenza, ma soprattutto la ragione. Gli uccelli rappresentano i nativi, la resistenza ma soprattutto la natura. L’incontro tra la ragione e l’imprevedibile vitalità della natura porta, attraverso una connessione emozionale travolgente, alla catarsi e alla riconciliazione. La loro simbiosi porta alla pace e all’accettazione reciproca.

Un fenomeno audiovisivo è una “metafora concreta” della complessità del mondo contemporaneo. Il potere dell’artificio, che fa parte della natura dell’audiovisivo e comunque dei media, che simulano la realtà e tendono a nasconderla, emerge chiaramente in questo lavoro, che mira a rivelare il meccanismo che soggiace alla costruzione di certe forme di potere. Per il film The Critical Mass Movement, Strangis ha raccolto da internet una serie di frammenti di notizie relative al crollo dello status quo nel Nord Africa, per creare – grazie a speciali tecniche di post-produzione – un’opera che tende all’astrazione. Il lavoro offre interessanti spunti per interpretare il gap tra l’evento reale e la versione che ne danno i mass media.

War is a prison for the human soul. Only peace liberates and redeems. In Counterattack, a short fiction film where The Hurt Locker meets The Birds, this premise is exhibited through the paradox of symbiosis between a soldier and a flock of pigeons. It is presented though a story of conflict about the narrow space of a container. Human and nature claim the same space, dynamically. The soldier represents occupation, violence, but above all reason. Birds stand for native people, resistance but above all nature. The encounter of reason with the unpredictable vitality of nature leads, through an overwhelming emotional connection, to catharsis and reconciliation. Their symbiosis leads to peace and mutual acceptance.

An audiovisual phenomenon is a “concrete metaphor” of the complexity of the contemporary world. The power of artifice, which is inherent in the nature of the audiovisual and something that the media, simulating reality, tend to hide, emerges clearly in this work, aiming to expose the mechanism that underlies the construction of certain kinds of power. For the film The Critical Mass Movement, Strangis has collected from the internet a series of news fragments related to the disruption of the status quo in North Africa to make up – thanks to special video post-production techniques – a piece tending to abstraction. The work offers interesting insights for the interpretation of the gap between the real event and the mass-media version of it.


25 // CINEMA

TAREK Tarek Korkomaz LIBANO / LEBANON

Nato nel / Born 1981 Vive e lavora in Libano Lives and works in Lebanon

The Day, 2010 (Il giorno) Murder of A Moth, 2010 (Omicidio di una falena) SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL Un proverbio rigirato (Una mela al giorno toglie la vita…) e la lotta di una falena contro la luce sono rispettivamente i temi dei film d’animazione in stop-motion The Day (Il giorno) e Murder of a Moth (Omicidio di una falena), di Tarek, attualmente studente di radio, televisione e film.

A twisted proverb (An apple keeps life away…) and the fight of a moth versus light are the respective themes of the stop motion animation films The Day and Murder of a Moth by Tarek, currently engaged in radio, television and film studies.

JOSÉ TRIGUEIROS PORTOGALLO / PORTUGAL

Nato nel / Born 1985 Vive e lavora a Coimbra, Portogallo Lives and works in Coimbra, Portugal

Dios por el cuello, 2011 (Dio per il collo / God for His Neck) SABATO 17 DICEMBRE, VIDEO TUNNEL SATURDAY DECEMBER 17TH, VIDEO TUNNEL È domenica e Pablo, otto anni, ha un invito per un compleanno davvero speciale. È domenica, e per Pablo non c’è tempo per i festeggiamenti perché è il suo primo giorno di predicazione porta a porta.

It’s Sunday and Pablo, 8 years old, has an invitation to a very special birthday party. It’s Sunday, and for Pablo there’s no time for celebrations, since it is his first day of door-to-door preaching.


26 // CINEMA

ALMUDENA VERDÉS DURÁ

BIANCA MARIA ZAMMIT

SPAGNA / SPAIN

MALTA

Nata nel / Born 1974

Nata nel / Born 1982

Vive e lavora in Spagna Lives and works in Spain

Vive e lavora a Malta Lives and works in Malta

Trato, 2010 (Patto / Deal)

Digital Gaza, 2011

SABATO 17 DICEMBRE, SALA CONFERENZE SATURDAY DECEMBER 17TH, CONFERENCE ROOM

SABATO 17 DICEMBRE, SALA CONFERENZE SATURDAY DECEMBER 17TH, CONFERENCE ROOM

Elena perde un guanto mentre sta tornando a casa. Un gruppo di adolescenti la sta guardando dalle scale di un edificio. Elena si rivolge gentilmente ai ragazzi, chiedendo loro del guanto che ha perso. Loro abusano della sua fiducia. Soltanto un patto risolverà il conflitto. Questa è la storia di Trato (Patto), primo film breve di Almuneda Verdés Durá. Il film è stato finanziato dal Ministero della Cultura e dall’Istituto di Cinematografia di Valencia ed è stato selezionato in oltre trenta festival nazionali e internazionali, come Clermont Ferrand, l’International Film Festival di Guadalajara (Messico), l’International Film Festival di Cartagena de Indias, la Regensburg Short Film Week (Germania) e ha vinto numerosi premi, tra cui miglior film e miglior regia.

Nessuna email, nessuna connessione, in molti casi nemmeno una telefonata; torniamo all’essenziale: una lettera scritta a mano mesi fa. Questo è l’unico frammento di informazione che le famiglie palestinesi di Gaza ricevono dai loro cari che sono in prigione in Israele. Digital Gaza segue le madri di quei detenuti mentre si raccolgono nello spazio che hanno creato circa dieci anni fa per essere ascoltate. I giovani di Gaza, molti dei quali sono stati in una prigione israeliana, sono da sempre esposti al mondo digitale. I giovani sono determinati a creare un nuovo spazio per le far sentire le loro voci e comunicare direttamente con il mondo di internet.

Elena loses a glove on her way home. A group of teenagers are looking at her from the stairs of a building. Elena kindly asks the guys, inquiring about her missing glove. They abuse her trust. Only a deal will resolve the conflict. This is the story of Trato (Deal) which is the first short film by Almudena Verdés Durá. It was funded by the Ministry of Culture and the Valencian Cinematography Institute and was selected in over 30 national and international festivals including Clermont Ferrand, the International Film Festival of Guadalajara (Mexico), the International Film Festival of Cartagena de Indias, the Regensburg Short Film Week(Germany) and has won numerous awards including best film and best director.

No email, no contact visit, in most cases not even a telephone call; it’s back to basics: a hand-written letter dating from months ago. This is the only piece of information Palestinian families living in Gaza receive from their loved ones who are held in an Israeli prison. Digital Gaza follows the mothers of those detained as they gather at the space they created over a decade ago to be listened to. Gaza’s new generation, many of whom have been imprisoned in an Israeli jail, grew up exposed to the digital world. The young are determined to create a new space for their voices to be heard and to communicate directly with the world wide web.


27 // LETTERATURA / LITERATURE

LETTERATURA / LITERATURE

NERMIN AHMIĆ

LEJLA ALIMANOVIĆ

BOSNIA HERZEGOVINA

BOSNIA HERZEGOVINA

Nato nel / Born 1986

Nata nel / Born 1987

Vive e lavora in Bosnia Herzegovina Lives and works in Bosnia Herzegovina

Vive e lavora in Bosnia Herzegovina Lives and works in Bosnia Herzegovina

I? (E? / And?) U roju zlatnih zrikavaca (In uno sciame di grilli Dorati / In a cluster of golden crickets)

Simbyosis (Simbiosi / Symbiosis)

SABATO 17 DICEMBRE, AUDITORIUM SATURDAY DECEMBER 17TH, AUDITORIUM

Il progetto Symbiosis, una presentazione poetica accompagnata da un breve video e da musica hip hop, ruota intorno al tema della simbiosi nel mondo di oggi, affronta la questione della posizione dell’individuo nella società contemporanea e fornisce suggerimenti per una vita migliore.

Il tema della simbiosi permea, come un fitto tessuto, diversi livelli dei testi. Esso è presente a un primo livello tematico concentrico. Appare poi nell’unione e nella fusione di poesia e pittura mediante l’impressione sinestetica dei fonemi e dei suoni, simili a colori. Inoltre è presente nell’architettura della poesia con la combinazione di diversi elementi tecnici e stilistici, quale la sinestesia di Rimbaud, l’assonanza e l’allitterazione di Lorca, gli echi dei simbolisti e dei surrealisti francesi, la terzina di Dante e la metrica classica.

The theme of symbiosis pervades, as dense embroidery, different layers of the pieces. Symbiosis is present in a first thematic concentric layer. It also appears in the unification and fusing of poetry and painting through a synaesthetic impression of phonemes and sounds as colours. Moreover, it is present in the architectonic of the poetry through the eclectic combination of different technical and stylistic elements such as Rimbaud’s synaesthesis, Lorca’s assonance and alliteration, echoes of the French symbolists and surrealists, Dante triplet and classical metrics.

VENERDI 16 DICEMBRE, AUDITORIUM FRIDAY DECEMBER 16TH, AUDITORIUM

The project Symbiosis, a poetry presentation accompanied by a short video movie and hip hop music, deals with issues of symbiosis in the current system, raises the question of man’s position in contemporary society and attempts to provide suggestions for a better life.


28 // LETTERATURA / LITERATURE

LEÏLA ANIS

KEITH AZZOPARDI

FRANCIA / FRANCE

MALTA

Nata nel / Born 1983

Nato nel / Born 1991

Vive e lavora a Marsiglia, Francia Lives and works in Marseille, France

Vive e lavora a San iljan, Malta Lives and works in San iljan, Malta

Fille de (Figlia di / Daughter of)

Ittrè miftuħa lill-mejtin (E-mail aperta a chi è morto / An Open E-mail to the Dead) Mill-frak ta’ fuq l-imwejjed (Le poche briciole rimaste / The Last Few Crumbs)

SABATO 17 DICEMBRE, READING ROOM SATURDAY DECEMBER 17TH, READING ROOM Ovunque tu vada, qualunque cosa tu faccia, porterai la tua terra sulle spalle e, non dispiaccia a coloro che la pensano diversamente, non si può essere esiliati da se stessi. Abdourahman A. Waberi, Cahier nomade Il racconto breve Fille de (Figlia di) è la cronaca de un viaggio dall’Africa alla Francia, dell’esilio di una giovane in una famiglia, che non tornerà dal viaggio. 1999-2011, la cronaca di una partenza subita, che diventa un esilio voluto. Wherever you go, whatever you do, you carry your country on your back, and no offense to those who want to think otherwise one cannot be exiled from himself. Abdourahman A. Waberi, Cahier nomade The short story Fille de (Daughter of) is the chronicle of a departure from Africa to France, the exile of a teenager in a family, who will not return from flight. 1999-2011, a chronicle of a departure undergone, which will become a chosen exile.

VENERDI 16 DICEMBRE, READING ROOM FRIDAY DECEMBER 16TH, READING ROOM Ittrè miftuħa lill-mejtin (E-mail aperta a chi è morto) è un messaggio di posta elettronica indirizzato a Khaled Said, il ragazzo in onore del quale furono organizzate le prime manifestazioni civili in Egitto; questo testo parla del mondo dell’autore ed è anche il suo primo esperimento nella scrittura di voce femminile. Mill-frak ta’ fuq l-imwejjed (Le poche briciole rimaste) è una poesia ispirata alle esperienze dell’autore all’estero, in particolare una cerimonia di premiazione a Barcellona e un workshop letterario a Sofia, durante i quali ha avuto la possibilità di incontrare scrittori da venticinque nazioni diverse. Ittrè miftuħa lill-mejtin (An Open E-mail to the Dead) is an email addressed to Khaled Said, in whose honour the initial protests in Egypt were organized; this work takes into consideration the local situation and is also the author’s first experiment in feminine writing. Mill-frak ta’ fuq l-imwejjed (The Last Few Crumbs) is a poem inspired by the author’s local surroundings and his literary experiences abroad, an awards ceremony in Barcelona and a literary workshop in Sofia, during which he got to meet writers from around 25 different nationalities.


29 // LETTERATURA / LITERATURE

HEND BAKR

KEITH BORG

EGITTO / EGYPT

MALTA

Nato nel / Born 1980

Nato / Born 1984

Vive e lavora ad Alessandra d’Egitto Lives and works in Alexandria, Egypt

Vive e lavora a Birkirkara, Malta Lives and works in Birkirkara, Malta

Halima

Bashir u l-oħrajn (Bashir e gli altri / Bashir and others)

VENERDI 16 DICEMBRE, AUDITORIUM FRIDAY DECEMBER 16TH, AUDITORIUM

VENERDI 16 DICEMBRE, READING ROOM FRIDAY DECEMBER 16TH, READING ROOM

Penso che l’arte della scrittura e della narrazione sia un ponte di connessione tra gli individui. L’arte stimola il desiderio di comunicare e incontrare l’altro, di aprirsi alla cultura dell’altro. Relazionarsi con diverse culture dà l’opportunità di creare racconti dal sapore speciale e di favorire l’incontro umano. Hend Bakr

Osservare le diverse vite di tre persone tra agitazione e guerra, solitudine e mass media. Eventi recenti che hanno avuto un impatto su quasi tutti. L’incontro o la mancanza di diversi mondi. Andare avanti o aspettare qualcosa che non accade mai. Keith Borg ha quasi terminato un master in comunicazione. La vita di tutti i giorni è il centro dei suoi interessi, attraverso di essa cerca di comprendere meglio l’essere umano e la sua identità.

Halima è un alone famiglia accedere tempo la

un racconto breve che parla di una nonna, circondata da rituale e misterioso, che rappresenta il centro della e influenza fortemente sua nipote. Quest’ultima cerca di allo strano mondo della nonna, costruendo allo stesso propria identità e la propria libertà.

I think that the art of story-telling and narration is a connection bridge between people. Art increases the desire to communicate and to meet the other, to open up to the other’s culture. Dealing with different cultures is an opportunity to create stories with special flavours, promoting this humanistic meeting. Hend Bakr Halima is a short story about a grandmother, surrounded by mysteries and rituals, who is the centre of the family and affects greatly her grand-daughter, who tries to enter her grandmother’s strange world while developing her own identity and freedom.

Observing the different realities of three people through turbulence and war, solitude and mass media. Recent events that have had an impact on almost everyone. The coming together (or the lack of it) of different worlds. Moving forward or waiting for something that never happens. Keith Borg has just finished his MA in Communications. The simplicity of everyday life is his biggest influence, as he tries to understand better the human being as its own entity.


30 // LETTERATURA / LITERATURE

CLERY CELESTE

FABIO CHIRIATTI

ITALIA / ITALY

ITALIA / ITALY

Nata nel / Born 1991

Nato nel / Born 1990

Vive e lavora a San Colombano, Italia Lives and works in San Colombano, Italy

Vive e lavora a Marignano, Rimini, Italia Lives and works in Marignano, Rimini, Italy

Le radici nell’altro (The roots in the other)

Milano Takeaway (Milan Takeaway)

SABATO 17 DICEMBRE, READING ROOM SATURDAY DECEMBER 17TH, READING ROOM

VENERDI 16 DICEMBRE, READING ROOM FRIDAY DECEMBER 16TH, READING ROOM

Nel suo lavoro Clery Celeste, studentessa di biologia all’Università di Bologna, esplora nel profondo il tema della simbiosi. L’autrice analizza la natura nelle sue caratteristiche biologiche, per esempio come possono convivere piante e funghi e dare luce ad altre specie. Inoltre è ispirata dal racconto della natura, che viene trasferito sulle relazioni umane: dall’amore all’amicizia, fino alla difficile integrazione degli stranieri e ai problemi politici ed economici. Inoltre la simbiosi può crearsi tra autore e lettore attraverso la letteratura, capace di produrre una stretta connessione tra due diversi punti di vista ed esperienze differenti.

Milano Takeaway è un modo di guardare alla città. Guardare per scrivere, scrivere per guardare. La notte trasforma completamente il volto di una città. Milano, la città delle mille opportunità, il “sogno italiano”, assume una nuova forma: da una parte la vita notturna, con le sue luci e i suoi rumori; dall’altra gli immigrati, illegali o meno, gli studenti, i senzatetto pronti a rispondere alle richieste dei clienti. Tra fiducia e prevaricazione, l’imperativo è sempre quello di sopravvivere. Fabio Chiriatti

In her work, Clery Celeste, a student in the Faculty of Biology at the University of Bologna, aims to explore deeply the theme of symbiosis. Firstly, she analyzes nature with its biological characteristics, for instance how plants and mushrooms can coexist and give birth to a third species. Secondly, she is inspired by what nature tells her and adapts it to human inter-relations: from love and friendship to the very difficult integration of foreigners and the political and economical problems. Moreover, symbiosis is also a concept that can be found between author and reader since reading establishes a close connection between two different viewpoints and life experiences.

Milano Takeaway (Milan Takeaway) is a way to look at a city. Looking to write, writing to see. The night changes completely how a city looks. Milan, the city of a thousand opportunities, the “Italian dream”, is transformed during the night: on the one hand, there is nightlife with its lights and its noise; on the other, immigrants, illegal or not, students and homeless people ready to meet the needs of customers. Whether they rely on each other or abuse each other, the imperative is always to stay alive. Fabio Chiriatti


31 // LETTERATURA / LITERATURE

MICHELE CIAVARELLA

DANIEL MARCUS CLARK

ITALIA / ITALY

REGNO UNITO / UNITED KINGDOM

Nato nel / Born 1985

Nato nel / Born 1980

Vive e lavora a Noicattaro, Bari, Italia Lives and works in Noicattaro, Bari, Italy

Vive e lavora a Brighton, Regno Unito Lives and works in Brighton, United Kingdom

Io e te (Me and You)

Earfilm Cinema

SABATO 17 DICEMBRE, READING ROOM SATURDAY DECEMBER 17TH, READING ROOM

SABATO 17 DICEMBRE, FOYER SATURDAY DECEMBER 17TH, FOYER

La simbiosi è l’opportunità di raccontare storie, di dare voce a coloro che sono sovrastati dall’oscurità, di ascoltare le vite dei nuovi nati interrotte dal silenzio. La simbiosi si genera tra uomo e uomo. La parola è il suo primo strumento. Michele Ciavarella Michele Ciavarella, 26 anni, scrive da quando ne aveva 8, perché il volo di una libellula gli ha mostrato la luce che può nascere dalle parole. Usa la scrittura per esprimere ciò che ha dentro, per sentirsi libero.

Earfilm Cinema è un cinema a occhi chiusi per l’udito e per l’immaginazione, basato sull’uso di tecnologie audio innovative, design filmico e colonne sonore dal vivo che si accompagnano al racconto orale per creare un’esperienza diversa da tutte le altre. Daniel Marcus Clark, di Brighton, Inghilterra, è scrittore, narratore, musicista e compositore. Suona una moltitudine di strumenti ed è stato tra i fondatori del celebre gruppo di cantastorie The Hat. Nel 1999 ha iniziato a sviluppare la modalità espressiva dell’Earfilm.

Symbiosis is the opportunity to tell stories, to give voice to those overwhelmed by darkness, to hear the newborn lives killed by silence. Symbiosis is between man and man. Word is its first instrument. Michele Ciavarella Michele Ciavarella, now 26, has been writing since he was 8, because the flight of a dragonfly showed him all the light that can be found within the words. He uses words to express what he has inside, to feel free.

The Earfilm Cinema is a blindfolded cinema for the ears and imagination. It harnesses innovative sound technology, filmic sound design, sonorous live soundtracks and in the moment live storytelling to create an experience unlike any you’ve ever had before. Daniel Marcus Clark is a writer, storyteller, musician and composer from Brighton, England. He plays a multitude of instruments and was the founding member of cult storytelling band The Hat. Earfilms is a medium that he has been developing since 1999.


32 // LETTERATURA / LITERATURE

MARWA DIAB

VALENTINA FACCHINI

EGITTO / EGYPT

ITALIA / ITALY

Nata nel / Born 1987

Nata nel / Born 1984

Vive e lavora ad Alessandria d’Egitto Lives and works in Alexandria, Egypt

Vive e lavora a Villongo, Bergamo, Italia Lives and works in Villongo, Bergamo, Italy

My Heart Disturbs Death (Il mio cuore infastidisce la morte)

Caffè scuro per due (Dark coffee for two)

SABATO 17 DICEMBRE, AUDITORIUM SATURDAY DECEMBER 17TH, AUDITORIUM

SABATO 17 DICEMBRE, FOYER SATURDAY DECEMBER 17TH, FOYER

Il tema principale della poesia My Heart Disturbs Death (Il mio cuore infastidisce la morte) è quello dell’amore e dell’esistenza: come può la morte fermare la ruggine che colpisce i cuori e l’umanità, riportarci alla nostra vera identità e a un mondo di pace, in cui regnano amore, purezza e fede.

Ridere nel buio, la grazia e l’ironia della vita Valentina Facchini

The main idea of the poem My Heart Disturbs Death is the issue of love and existence, how can death function as the means of stopping the process of rust which erodes our hearts and humanity, and of returning to our real selves and a world of peace, where love, pureness and faith reign.

Caffè scuro per due parla di due donne vicine di casa in Libia: una ragazza italiana, una rifugiata scappata da una guerra civile, e una donna libica. Le protagoniste imparano ciascuna il linguaggio dell’altra attraverso le parole e le attività di tutti i giorni.

To laugh in the darkness, the grace and the irony of the life. Valentina Facchini Caffè scuro per due (Dark Coffee for Two) is about two women neighbours in Libya: an Italian girl, a refugee who escaped from a civil war in Italy, and a Libyan woman. They learn each other’s language through everyday words and activities.


33 // LETTERATURA / LITERATURE

ANDRÉS GONZÁLEZ ANDINO

ZHIVKO GROZDANOSKI

SPAGNA / SPAIN

REPUBBLICA DI MACEDONIA / REPUBLIC OF MACEDONIA

Nato nel / Born 1979

Nato nel / Born 1986

Vive e lavora a Madrid, Spagna Lives and works in Madrid, Spain

Vive e lavora a Kicevo, Macedonia Lives and works in Kicevo, Macedonia

Haus

Klopec (Gomitolo di filo / Ball of Yarn)

VENERDI 16 DICEMBRE, AUDITORIUM FRIDAY DECEMBER 16TH, AUDITORIUM

Prikaznata za petka (La storia del bus n. 5 / The story of Bus No. 5)

Haus è un libro fatto di muri. Ogni muro segna il limite di un’identità distinta. Due identità diverse possono parlarsi attraverso questo confine. Possono comprendere l’esistenza dell’altro attraverso di esso. Ma cosa accadrebbe se il muro fosse fatto di parole? Se l’identità si trasformasse in un abitante della casa? Gli inquilini di Haus parlano senza la speranza di avere risposta. Ma continuano a parlare. Questo libro contiene le loro voci. Non è certo che Haus sia fatto di poesia. La poesia è un limite. Forse ogni libro di poesia è fatto di limiti.

Poema clemente (Clement Poem)

Haus is a book made of walls. Every wall specifies the limit of a difference. Two differences can talk to each other through the limit. They can understand the existence of “the other” through the limit. But what would happen if the wall was made of words? What, if the difference is actually an inhabitant? Inhabitants in Haus talk with no expectations – no hope in receiving an answer. But they keep talking. This book contains their voices. It is not certain if we can state that Haus is made of poetry. Poetry is a limit. Perhaps every poetry book is made of limits.

VENERDI 16 DICEMBRE, AUDITORIUM FRIDAY DECEMBER 16TH, AUDITORIUM Il progetto è composto da tre testi sul tema della simbiosi. Per prima cosa l’autore racconta la storia semiautobiografica Klopec (Gomitolo di filo), in cui presenta se stesso e la sua vita passata; poi passa a Prikaznata za petka (La storia del bus n. 5), sul tema dello sviluppo urbano e della globalizzazione. Per dare vita alla presentazione l’autore presenta elementi visivi, come mappe, immagini, grafici e animazioni. L’autore termina con la poesia Poema clemente, scritto in italiano, una sorta di invito a partecipare alla simbiosi tra culture.

The project encloses three pieces of writing in an on-stage presentation that develops the concept of symbiosis. First, the author narrates the semiautobiographical short story Klopec (Ball of Yarn), where he presents himself and his background; then he moves to the Prikaznata za petka (The story of Bus No. 5), raising issues of urban development and global interest. To give life to the presentation, the author includes visual elements (maps, images, graphs, and eventually flash animations). The author finishes with the poem Poema clemente (Clement Poem), addressing the audience in Italian, as a sort of invitation to participate in the symbiosis between cultures.


34 // LETTERATURA/ LITERATURE

ANDREW JAMISON

MOHAMED KORNA

REGNO UNITO / UNITED KINGDOM

EGITTO / EGYPT

Nato nel / Born 1986

Nato nel / Born 1984

Vive e lavora a Downpatrick, Regno Unito Lives and works in Downpatrick, United Kingdom

Vive e lavora a Giza, Egitto Lives and works in Giza, Egypt

The Bus from Belfast (Il bus da Belfast)

Labour at the End of Existence (Lavoro alla fine dell’esistenza)

VENERDI 16 DICEMBRE, READING ROOM FRIDAY DECEMBER 16TH, READING ROOM

VENERDI 16 DICEMBRE, AUDITORIUM FRIDAY DECEMBER 16TH, AUDITORIUM

The Bus from Belfast (Il bus da Belfast) è una raccolta di venti poesie che ho scritto negli ultimi due anni. Non solo ritraggo luoghi come Belfast, ma prendo ispirazione dai discorsi di tutti i giorni, dai giri di parole e dal dialetto nord irlandese che ha accompagnato tutta la mia vita, come si vede nella poesia “Thinking about the Point of Things on a Spring Evening on the Killyleagh Road”. Questo testo subisce anche la fascinazione per la luce, la natura e le stagioni nel nostro mondo urbanizzato. Andrew Jamison

La poesia Labour at the End of Existence (Lavoro alla fine dell’esistenza) parla della realizzazione di sé e dello stabilire lo scopo della vita in base al punto di vista del singolo individuo. La poesia tratta l’idea del tempo, della forza e dell’effetto del tempo sulle vite umane, oltre che dei principi umani riguardanti il successo, la fama e il potere di cambiare le vite degli altri.

The Bus from Belfast is a collection of twenty poems that I have written over the past two years. Not only do places like Belfast feature in my poetry but most of the poems are inspired by ordinary speech, turns of phrase and the Northern Irish vernacular that has surrounded me all my life and this might be seen in my poem “Thinking about the Point of Things on a Spring Evening on the Killyleagh Road”. This is a poem which is also influenced by, or perhaps, under the influence of, something of a fascination I have for light, nature and the seasons in our urbanized and urbanising world. Andrew Jamison

The poem Labour at the End of Existence talks about self-realization and establishing the purpose of life according to the point of view of the unique individual. The poem discusses the idea of time, the power and the effect of time on human lives, as well as the human principles concerning success, fame and power to change the others’ lives.


35 // LETTERATURA / LITERATURE

MARI KOSKI

V.S. LUOMA-AHO

FINLAND / FINLANDIA

FINLAND / FINLANDIA

Nata nel / Born 1982

Nato nel / Born 1984

Vive e lavora in Finlandia Lives and works in Finland

Vive e lavora in Finlandia Lives and works in Finland

Sur sum corda

Adam Metatron

SABATO 17 DICEMBRE, READING ROOM SATURDAY DECEMBER 17TH, READING ROOM Mari Koski (1982) è una poetessa e traduttrice finlandese. Il suo primo libro di poesie “Sch” è stato pubblicato nel 2011 da Poesia. La sua opera è apparsa su riviste di letteratura, in un’antologia di poesia sperimentale finlandese chiamata “Vastakaanon” ed è stata tradotta nell’Antologia Persiana di Poesia Mondiale. La scrittrice ha partecipato a reading in diversi happening dedicati alla poesia e sta traducendo l’opera in versi dell’autore americano contemporaneo Joseph Lease. Attualmente frequenta il Master di Scrittura Creativa all’Università di Jyväskylä, in Finlandia, ed è membro di Poesia, collettivo e casa editrice gestita da un gruppo di giovani poeti finlandesi d’avanguardia.

Mari Koski (1982) is a Finnish poet and a translator. Her first book of poetry “Sch” was published 2011 by Poesia. Her poetry has appeared in Finnish literature magazines and in an anthology of Finnish experimental poetry called “Vastakaanon”. Her poetry has been translated for the Persian Anthology of World Poetry. She has given readings in various poetry happenings and is translating the poetry of contemporary American poet Joseph Lease. Mari Koski studies in Master’s program for Creative Writing in Jyväskylä University, Finland and is a member of Poesia, a collective and a publishing house run by a group of young Finnish avant-garde poets.

SABATO 17 DICEMBRE, READING ROOM SATURDAY DECEMBER 17TH, READING ROOM V.S. Luoma-aho (1984) è un poeta finlandese, blogger, critico ed editor. Il suo primo libro di poesie “Ruumiita” (Corpi, poEsia) è stato pubblicato nel 2009, mentre la secodna raccolta, “Remora” (poEsia), nel 2011. È membro fondatore e redattore di Poesia, una casa editrice formata da giovani poeti finlandesi avanguardisti, e sta frequentando il Master di scrittura creativa presso l’Università di Jyväskylä, in Finlandia. Le sue poesie sono state pubblicate in varie antologie e riviste.

V.S. Luoma-aho (1984) is a Finnish poet, blogger, critic and an editor. His first book of poetry “Ruumiita” (Corpi, poEsia) was published in 2009 and his second book, “Remora” (poEsia), in 2011. He is a founding member and editor of Poesia, a cooperative publisher formed by young Finnish avant-garde poets. Luoma-aho studies in the Master’s program for Creative Writing in the University of Jyväskylä, Finland. His poems have been published in various anthologies and magazines.


36 // LETTERATURA/ LITERATURE

ANA PINO

POINT BLANK POETS

SPAGNA / SPAIN

Bridget Onam Minamore, Deanna Rodger, Dean Atta, Chimene Suleyman

Nata nel / Born 1988 Vive e lavora a Madrid, Spagna Lives and works in Madrid, Spain

Agua (y otros gigantes) (Acqua (e altri giganti) / Water (and other giants)) SABATO 17 DICEMBRE, READING ROOM SATURDAY DECEMBER 17TH, READING ROOM “Lasciamoglielo fare, dipingere i muri con l’acqua, intendo. Beh, io li lascio fare. Elena non lo sapeva e io non le ho detto nulla. Mi hanno mostrato il luogo segreto dove tengono i pennelli, i secchi con l’acqua e il vestito con cui Sandra dormiva fino all’età di dieci anni”. Ana Pino è nata e cresciuta vicino a una nuvola di saturno, ma nessuno sapeva nulla. È per questo che adora gli animali acquatici e i quaderni verdi. A volte esce di casa con una valigia colorata, il suo oboe (se necessario) e una macchina fotografica. Qualsiasi altra cosa doveste sentire è una bugia.

“We let them do it, that they paint the walls with water, I mean. Well, I let them do it. Elena didn’t know and I said nothing about it. They showed me the secret place where they keep the brushes, the buckets with water and the cloth Sandra used to sleep with until she turned ten.” Ana Pino was born and grew up near a saturn cloud, but no one knew anything. It’s because of this, that she likes acquatic animals and green notebooks. Sometimes she runs out of her house with a colourful suitcase, her oboe (if needed) and a photo camera. Anything else you may hear is a lie.

REGNO UNITO / UNITED KINGDOM

Nati nel / Born 1991, 1983, 1989, 1984, 1983 Vivono e lavorano a Nottingham, Regno Unito Live and work in Nottingham, United Kingdom

VENERDI 16 DICEMBRE, FOYER FRIDAY DECEMBER 16TH, FOYER I Point Blank Poets parlano delle loro esperienze relative all’ambizione, alla paura e agli ostacoli che incontrano in quanto giovani, nel prendersi la responsabilità di cambiare il mondo intorno a loro. Unisciti a loro e scopri che non sei il solo a esserti chiesto “Da dove vengo?”, “Dove sto andando?” e “Cosa mi ferma?”. I Point Blank Poets sono un collettivo che si impegna a rispondere creativamente alle questioni sociali del nostro tempo con una letteratura live fresca e vivace. Nutrono passione per il potere delle parole, della poesia in particolare, e aggiungono una dimensione di empatia, che non sempre è immediatamente disponibile con altri mezzi di comunicazione.

Point Blank Poets draw on their own experiences of ambition, fear and the hurdles they face as young people taking responsibility for the world around them to effect change. Join them and discover that you are far from alone if you have ever asked yourself “Where do I come from?”, “Where am I going?” and “What’s stopping me?”. Point Blank Poets is a collective focusing on creatively responding to important contemporary social issues with their unique, fresh and lively live literature. They feel a passion for the power of words, in particular poetry, to add a dimension of empathy, which is not always so readily available via other mediums.


37 // LETTERATURA / LITERATURE

EDLIRA RAMA

FARIS SABANEH

ALBANIA

PALESTINA / PALESTINE

Nata nel / Born 1985

Nato nel / Born 1982

Vive e lavora a Parigi, Francia Lives and works in Paris, France

Vive e lavora a Ramallah, Palestina Lives and works in Ramallah, Palestine

Ndaleni këtë tren! (Ferma quell treno! / Stop this train!) Ajo cka lumi më fsheh (Tutto ciò che il fiume nasconde / Whatever the river is hiding)

Water Dialogue (Dialogo sull’acqua) Ash Sitter (Colui che siede sulla cenere)

VENERDI 16 DICEMBRE, AUDITORIUM FRIDAY DECEMBER 16TH, AUDITORIUM

VENERDI 16 DICEMBRE, READING ROOM FRIDAY DECEMBER 16TH, READING ROOM

Domande sulla relazione degli esseri umani con il Tempo, in particolare su quello che passa, e sul suo effetto nel cambiamento della “traiettoria psicologica” della vita. Il confine tra la dimenticanza e il risveglio rimane così fluido: la precipitazione nella vanità e la volontà, quindi, di tornare indietro, di distruggere questa Vanità e dunque il Tempo stesso. L’oblio appare come uno sforzo di simbiosi con la vita, teso a congelare il Tempo: un obiettivo che diventa una vera psicosi. Ma il ritorno a sé stessi, all’esistenza tangibile, resta ineluttabile.

Mentre scrivo, principalmente, per me stesso, sento la straordinaria interazione delle mie parole con le persone, cerco la bellezza in ogni cosa e cerco di cantare. Il poema Water Dialogue (Dialogo sull’acqua) è una conversazione tra un ragazzo e uno strano mare. Dopo aver combattuto il mare come suo nemico, egli cerca di comprendere e analizzare questo conflitto. Il poema Ash Sitter (Colui che siede sulla cenere) parla della verità della fotografia, della rivoluzione contro la complicata idea della vita e del sentimento diretto dell’amore come la verità della vita. Faris Sabaneh

Questions on the relationship of human beings with Time, specifically Time which goes by and its effect in changing the “psychological trajectory” of life. The border between forgetfulness and reawakening remains so fluid: the precipitation in vanity and the will, thereafter, to return back, to destroy this Vanity and hence the Time itself. The obliviousness appears to be an effort of symbiosis with life, in order to freeze Time: a goal that becomes a real psychosis. But, the return back to oneself, to the tangible existence, remains ineluctable.

Writing, mainly, to know myself, I feel the amazing interaction of my words with people, search for beauty in everything and try to sing. The poem Water Dialogue is a dialogue between a guy and a strange sea. Having fought the sea as his enemy, he tries to understand and analyze this conflict. The Ash Sitter poem talks about the truth of the camera picture, the revolution against the complicated idea of life and the direct feeling of love as the truth of life. Faris Sabaneh


38 // LETTERATURA/ LITERATURE

ARBËR SELMANI

JOSÉ TRIGUEIROS

KOSOVO

PORTOGALLO / PORTUGAL

Nato nel / Born 1991

Nato nel / Born 1985

Vive e lavora a Pristina, Kosovo Lives and works in Pristina, Kosovo

Vive e lavora a Coimbra, Portogallo Lives and works in Coimbra, Portugal

Simbioza (Simbiosi / Symbiosis)

Pó de Coisa Nenhuma (Polvere di nulla / Dust of Nothing)

SABATO 17 DICEMBRE, READING ROOM SATURDAY DECEMBER 17TH, READING ROOM

SABATO 17 DICEMBRE, AUDITORIUM SATURDAY DECEMBER 17TH, AUDITORIUM

I miei testi cercano di determinare come le cosiddette “buone relazioni” conducano a guerre e guerre fredde e si occupano di quello che accade quando due sostanze si mescolano. Credo che "simbiosi" sia un concetto ampio riassumibile in poche parole. È l’idea di vivere insieme, con il tuo amico e il tuo nemico, ma spesso si rivela fatale nella costruzione delle relazioni. Arbër Selmani

Nessuno vive senza occupazione. Il respiro è un’occupazione. Riempire e svuotare il petto con l’aria. Ripetutamente. E poi ci sono occupazioni più nobili, come mangiare, bere e avere rapporti sessuali. E dormire, farsi il bagno, vestirsi, camminare, battere le ciglia, fischiare. Non basta. Vogliamo sempre di più. È per questo che abbiamo inventato la società. Questo inutilità che si libra sopra di noi come una polvere contagiosa che scatena le occupazioni. A un certo punto, vorremmo scrollarci tutto di dosso, ma è troppo tardi, siamo coperti di niente.

My writings try to determine how the so called “good relations” allow wars and cold wars and deal with what happens when two substances mix. It seems to me that symbiosis is a broad concept to brief into small words. It’s the idea of living together, with your friend and your enemy, but often proves to be fatal in the reports construction. Arbër Selmani

No one lives unoccupied. To breathe is an occupation. To fill and unfill the chest with air. Repeatedly. Then there are higher occupations, such as to eat, to drink and sexual intercourse. And to sleep, to bathe, to dress, to walk, to blink, to whistle. It is not enough. We always want more. That is why we invented society. This unmatter that hovers above us like a contagious dust that triggers occupations. At a certain point, we want to shake our shoulders but it is too late, we are covered with nothing.


39 // LETTERATURA / LITERATURE

JULIJANA VELICHKOVSKA

STERGIOS VRIZAS

REPUBBLICA DI MACEDONIA / REPUBLIC OF MACEDONIA

GRECIA / GREECE

Nata nel / Born 1982

Nato nel / Born 1986

Vive e lavora a Skopje, Macedonia Lives and works in Skopje, Macedonia

Vive e lavora a Salonicco, Grecia Lives and works in Thessaloniki, Greece

Symbiosis? (Simbiosi?)

Δεκάλεπτες μπουκιέςουυυυυ (10-minute bites)

SABATO 17 DICEMBRE, AUDITORIUM SATURDAY DECEMBER 17TH, AUDITORIUM

VENERDI 16 DICEMBRE, READING ROOM FRIDAY DECEMBER 16TH, READING ROOM

Il progetto consiste in un reading pubblico di poesie, storie brevi e brevi saggi accompagnati dalle loro illustrazioni disegnate direttamente dall’autrice e potrebbero essere descritti come una simbiosi tra parole e immagini. I lavori letterari così come le illustrazioni sono il risultato della simbiosi tra la poesia tradizionale ed espressioni tratte dai social network, dalla musica pop, dai film e da tutte le influenze globali, una simbiosi tra folklore e facebook, twitter e i blog, il punto di vista e lo stile di vita tecnologico. Il progetto risponde alla domanda Symbiosis? presentando il sincretismo essenziale in modo contemporaneo.

Δεκάλεπτες μπουκιέςο (10-minute bites) è una favola urbana di sette pagine sulla simbiosi di una persona con ciascun membro della propria famiglia e con sé stesso, che combatte per il diritto di essere differente, sopportando al contempo la colpa evocata da tale differenza. La convivenza familiare è proiettata sull’ambiente sociale, crudelmente accolto e restituito, quale riflesso della famiglia stessa. L’ispirazione per questo lavoro è stata la differenza personale necessaria e innata, così come la memoria della non-accettazione. Il motivo è stato il bisogno personale e individuale di confidarsi. L’obiettivo è quello di mettere fine a ogni modalità di attacco e aggressione contro ogni forma della differenza.

The project is a public reading of poems, short stories and essays accompanied by their illustrations which are drawn by the author herself and it could be characterized as a symbiosis of words and pictures. The literary works as well as the illustrations are a symbiosis of traditional poetry and phrases from social networks, pop music, film and all global influences, a symbiosis of folklore and facebook, twitter, blogging, the IT point of view and life style. The project answers the question Symbiosis? presenting the essential syncretism in a contemporary way.

Δεκάλεπτες μπουκιέςο (10-minute bites) is a seven page urban fairy-tale about the symbiosis of a person with each member of the family unit separately and with the very self who fights for the right to differ, carrying at the same time the guilt evoked by such difference. Family coexistence is projected onto the social environment, received and reciprocated cruelly, reflecting a similar reception by the family itself. The stimulus for this work was the necessary and innate personal difference, as well as the memory of non-acceptance. The reason was the personal and individual need to confide. The purpose is to cease every mode of attack and aggression towards every mode of difference.


40 // MUSICA / MUSIC

MUSICA / MUSIC

HYPHEN HYPHEN

LIBURN JUPOLLI

Zaccharie Schütte, Samanta Cotta, Laura Christin, Romain Adamo

Kosovo

FRANCIA / FRANCE

Nati nel / Born 1991 Vivono e lavorano a Nizza, Francia Live and work in Nice, France

SABATO 17 DICEMBRE, FOYER SATURDAY DECEMBER 17TH, FOYER Gli Hyphen Hyphen sono una giovane band fondata due anni fa da quattro ventenni, che prima facevano i grafici o i dj e ora studiano arte e comunicazione. Il gruppo è composto da Santa (voce, chitarra, synth), Line (basso, voce), Puss (chitarra) e Zak (batteria), creatori di un suono elettro-rock inedito e potente, tra Phoenix, Klaxons, Talking Heads e Vampire Weekend. Sul palco la band ha un’energia diretta e sofisticata, un groove immediato e ballabile che colpisce e trasporta. Ultimamente hanno dato il meglio di loro stessi vendendo cento dischi allo stand del merchandising quando il gruppo principale ne aveva vendute solo 15. Interagiscono in maniera eccezionale con il pubblico con coreografie, scenografie e costumi fluo.

Hyphen Hyphen is a young band founded two years ago by four twenty-year old graphic designers and DJs, who are currently studying arts and communication. The group consists of Santa (sing/guit/synth), Line (bass/sing), Puss (guit) and Zak (dms), magicians of a powerful and uncommon electro-rock sound, somewhere between Phoenix, Klaxons, Talking Heads and Vampire Weekend. On stage, the band has a raw and sophisticated energy, a fresh dance-floor groove that strikes and takes you. Recently they outdid themselves selling one hundred CDs at the merchandising stand while the headliner barely sold 15 copies. They shake your belly and booty, they interact amazingly with the public through choreographies, fluo paintings and costumes.

Nato nel / Born 1989 Vive e lavora in Kosovo Lives and works in Kosovo

SABATO 17 DICEMBRE, FOYER SATURDAY DECEMBER 17TH, FOYER L’octo: il nuovo strumento chiamato octo è un’evoluzione della chitarra a otto corde, basata sull’idea del giovane compositore, pianista e bassista kosovaro Librun Jupolli. Questo strumento è la simbiosi tra due strumenti, diverse tecniche e varie idee acustiche. Un riassunto del cinema horror classico e dello sviluppo del suo stile: una breve spiegazione di come gli stili musicali possono interagire nel genere cinematografico horror e creare nuovi stili. Strumenti rari: è una breve presentazione degli strumenti non comuni più conosciuti da tutto il monto, una simbiosi di diversi strumenti in uno.

The octo: The new instrument called the octo is a new addition to the eight-string guitar. It is a custom built 8-string guitar based on the ideas of young Kosovar composer/pianist/bassist Liburn Jupolli. This instrument is a symbiosis of two instruments, several techniques and several acoustic ideas. An overview on classic horror cinema music and its style development: A short explanation of how musical styles can interact in the horror movie genre and create new styles. Rare instruments: This is a short presentation of the most common uncommon instruments. Various uncommon instruments form all around the world, a symbiosis, in fact, of different instruments in one, will be described.


41 // MUSICA / MUSIC

SCARLETT O’HANNA

SI TEW

FRANCIA / FRANCE

REGNO UNITO / UNITED KINGDOM

Nata nel / Born 1985

Nato nel / Born 1983

Vive e lavora a Bruxelles, Belgio Lives and works in Brussels, Belgium

Vive e lavora a Derby, Regno Unito Lives and works in Derby, United Kingdom

VENERDI 16 DICEMBRE, FOYER FRIDAY DECEMBER 16TH, FOYER

VENERDI 16 DICEMBRE, FOYER FRIDAY DECEMBER 16TH, FOYER

Scarlett O’Hanna potrebbe essere figlia di Maria Callas e Frank Black, un minuto la vedi sfruttare al meglio la sua formazione di pianista classica con brani “cinematici” e quello dopo produrre un sound più grunge. È in grado di combinare con facilità gli stili, facendo tutto ciò che vuole con un’eleganza incredibile. Alcuni avranno già visto la sua apertura per Scout Niblett o Emily Jane White; le sue canzoni indie folk, i brani strumentali e le cover personali vi porteranno a fare un giro tra minimalismo e cabaret. È in grado di tirare fuori un romanticismo di classe e senza fronzoli con una indiscutibile semplicità musicale. Questo progetto solista della fondatrice del trio indie Cobson si è rivelato molto più di una semplice aggiunta e Scarlett “gioiello a buon mercato” sembra sulla buona strada per arrivare alla major league.

Con il suo album di debutto When the Clouds Ran Away (Quando le nuvole se ne sono andate), l’uomo dietro la musica, Si Tew, ha fuso gli elementi della musicalità che ama e ha portato a termine un raffinato capolavoro di anima elettronica contemporanea. Realizzato con una talentuosa squadra di collaboratori, l’album oscilla tra battiti sincopati dell’anima e composizioni organiche cinematiche. Anche se potrebbe sembrare un compito impossibile, Si Tew è riuscito a portare a termine la missione perfettamente.

Scarlett O’Hanna could be the daughter of Maria Callas and Frank Black, one minute you see her making the most of her piano classical background with “cinematic” songs and the next she sounds more grungy. She actually combines styles with ease doing, in reality, anything she wants with amazing elegance. Some will have already seen her opening for Scout Niblett or Emily Jane White; Scarlett O’Hanna’s indie folk songs, instrumental tunes and personal covers will take you for a ride between minimalism and cabaret. She pulls off a romantic class act with no frills in a certain musical plainness. This solo project, from the founder of indie trio Cobson, turned out to be much more than just a side order and Scarlett’s “cheap bling bling” seems on its way to make it to the major league.

With his debut full-length album entitled When the Clouds Ran Away, the man behind the music, Si Tew, has seamlessly tied together the many elements of musicality he loves, and from this has delivered a polished masterpiece of modern day electronic soul. Featuring a talented crew of collaborators, the album swings from glitchy swung break beats via heart felt soul to organic cinematic compositions and, although this may seem like an impossible task, Si Tew has produced this genre hopping expedition perfectly.


42 //EVENTI COLLATERALI / COLLATERAL EVENTS

EVENTI COLLATERALI / COLLATERAL EVENTS

Nuove opportunità per autori emergenti “New opportunities for emerging authors”

dio Zecchi ARTISTI/ARTISTS

Sabato 17 dicembre, reading room, ore 17.00 Saturday December 17th, reading room, 5 pm

Younes Atbane Vive e lavora in Marocco. Studia al Conservatorio di Casablanca e dal 2004 segue studi in grafica e art design. Il suo percorso artistico è incentrato sulla visual art e la danza contemporanea di cui ci sono continui rimandi nei suoi video. Attualmente la sua ricerca si sta sviluppando sull’analisi di diversi programmi di esperienze artistiche, incentrate sulla danza in Africa e in Europa. Oltre a lavorare per numerose compagnie internazionali è stato co-fondatore a Casablanca del collettivo 2k_far.

Con Silke Pillinger (direttore, WEYA – Artisti Evento giovane), Lea Iandiorio (direttore, Scuola Holden), Javier Sagama (presidente, EACWP - Associazione europea dei programmi di scrittura creativa), moderato da Emiliano Paoletti(segretario generale, BJCEM). L’incontro è rivolto a giovani scrittori, autori, registi e artisti in genere interessati a scoprire alcune delle nuove opportunità internazionali offerte dai partner della BJCEM. Saranno presentate la prima edizione di WEYA, che sarà l’evento di chiusura delle Olimpiadi della Cultura 2012 a settembre 2012 a Nottingham (Regno Unito), e la neonata rete EACWP, cui aderiscono 9 partner europei, rappresentata in Italia dalla Scuola Holden. L’incontro si svolgerà in lingua inglese. With Silke Pillinger (director, WEYA - World Event Young Artists), Lea Iandiorio (director, Scuola Holden), Javier Sagama (president, EACWP – European Association of Creative Writing Programmes), moderated by Emiliano Paoletti (general secretary, BJCEM). The meeting is addressed to young writers, authors, filmmakers and artists in general who are interested in discovering some new international opportunities from BJCEM’s partners. It will present the 1st WEYA, that will be the closing event of the Cultural Olympiad 2012 on September 2012 in Nottingham (United Kingdom) and the newborn EACWP network, with 9 partners from Europe, represented in Italy by Scuola Holden. English language meeting Workshop di arte pubblica “La Ville Ouverte” Public art workshop “La Ville Ouverte” Sabato 17 dicembre, sala conferenze, ore 22.30 Saturday December 17th, conference room, 10.30 pm Presentazione del workshop d’arte pubblica La Ville Ouverte, tenutosi tra Viterbo e Casablanca e promosso da Arci e Cantieri d’Arte. Nel Settembre 2011 a Viterbo, sei giovani artisti hanno partecipato a una serie di incontri sulla public art organizzati all’interno di Permesso di soggiorno, performance ideata da Alessandro Nassiri Tabibzadeh, che consiste nel riallestire il soggiorno di una casa privata in uno spazio pubblico. La fase progettuale del workshop ha dato luogo a Game Overflow, progetto contenitore che ha come scopo la realizzazione di sei azioni distinte e separate, all’interno di una cornice più ampia – capaci di dialogare con lo spazio del museo allargandone concettualmente i confini predefiniti dai limiti istituzionali. Game Overflow, intende creare una situazione di frizione tra il museo e le azioni degli artisti, che avranno bisogno del pubblico partecipante per compiersi definitivamente. Presentation of the public art workshop La Ville Ouverte, held in Viterbo and Casablanca under the direction of Arci and Cantieri d’Arte. In Viterbo, on September 2011, six young artists participated to discussion sessions about public art organized within the context of Residence permit, a performance by Alessandro Nassiri Tabibzadeh consisting in the rearrangement of a private living room directly into a public space. The workshop gave rise to Game Overflow, a project that aims to realize six different actions, within a broader framework, establishing a dialogue with the museum space until the conceptual enlarging of its boundaries as defined by the institutional constraints. Game Overflow wants to create a friction between the museum and the artistic actions, which will reach their final accomplishment only with the aid of the audience participation. A cura di/curated by Denis Isaia, Alessandro Nassiri Tabibzadeh, Marco Trulli e/and Clau-

Lives and works in Morocco. He studied at the Conservatory of Casablanca and from 2004 he studies graphic design and art design. His artistic career has focused on visual art and contemporary dance of which there are constant references in his videos. Currently his research is focusing on dance in Africa and Europe. He works for several international dance companies and he is also co-founder of the collective 2k_far in Casablanca. Zouheir Atbane Vive e lavora in Marocco. Comincia la sua esperienza artistica come musicista e sound designer. La danza e la musica lo spingono a guardare oltre le tecniche convenzionali. Studia diverse e innovative tecniche di produzione del suono. È stato co-fondatore, insieme al fratello Younes, del collettivo 2k_far e nel 2006 ha collaborato con Cristian Zagaria per un progetto digitale che ruota attorno al corpo umano. I suoi lavori si basano sulla considerazione del fatto che il suono è un elemento attivo e non controllabile e che richiede la necessità di essere ascoltato con diversi metodi. Lives and works in Morocco. He began his artistic experience as a musician and sound designer. Dance and music led him to look beyond conventional techniques. He studied different and innovative techniques of sound production. It was co-founder, with his brother Younes, of the collective 2k_far and in 2006 he collaborated with Cristian Zagaria for a digital project that is focusing around the human body. His works are based on the consideration of the fact that sound is an active and uncontrolled element that requires the need to be heard by different methods. Chiara Colombi Vive e lavora a Milano. Diplomata in scultura all’accademia di Belle Arti di Brera, svolge la sua ricerca artistica utilizzando diversi linguaggi: scultura, fotografia, video, performance, istallazioni. La sua è una poetica caratterizzata dal rapporto tra arte e le relazioni sociali attraverso un processo di analisi delle interazioni che si vengono a creare tra corpo e spazio umano. Il suo lavoro è un lavoro che nasce dalla riflessione sulla solitudine umana, sentimento che induce nell’artista la necessità di ri-creare rapporti e linguaggi. Proprio in quest’ottica l’artista da vita a pratiche di costruzione di spazi relazionali tesi a indagare e risolvere il mistero dell’incomunicabilità. Lives and works in Milan. She graduated in sculpture at the Brera Academy of Fine Arts. She carries out its research using different artistic languages: sculpture, photography, video, performance, installations. Her work uses to analyse the social relation through the interaction between the human body and space. She investigates the human loneliness, a feeling that in the artist leads the need to re-create relationships and languages. She builds relational practices aimed to investigate the mystery of incommunicability. Gregorio De Luca Comandino/SonusLoci Vive e lavora a Roma. È architetto e artista del suono. Si laurea in Progettazione Architettonica presso L’Università degli Studi di Roma Tre con una tesi di ricerca sul ruolo dell’orecchio nella progettazione architettonica dal titolo “Architettura Uditiva”. Il progetto di ricerca da lui avviato, SonusLoci, si sviluppa attraverso azioni, installazioni e performance in spazi pubblici, privati, luoghi abbandonati, con lo scopo di interrompere la bolla percettiva indifferente


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agli stimoli esterni e promuovere interazioni fra gli individui e gli spazi in cui vivono. Lives and works in Rome. He is architect and sound artist. He graduated in Architectural Design at the Third University of Rome with a dissertation on the role of the ear in the architectural design titled “Hearing Architecture”. With his project research, SonusLoci, he develops actions, installations and performances in public spaces, private and abandoned places, in order to promote interaction between individuals and the spaces in which they live. Isabella Mara Vive e lavora a Milano. La sua ricerca indaga i temi sociali e la complessa relazione tra l’uomo, le immagini e la percezione ordinaria del quotidiano. Disegno, collage e installazioni, sono i mezzi che l’artista utilizza per riorganizzare e ordinare il mondo. Il suo lavoro spazia da piccoli lavori su carta a composizioni e installazioni di grandi dimensioni. Lives and works in Milan. Her research explores the social issues and the relationship between man, the images and perception of the daily routine. Drawings, collages and installations, are the tools which the artist uses to reorganize and re-order the world. Her work ranges from small works on paper up to compositions and large installations. Pietro Zucca Vive e lavora a Roma. Nel 2005 è membro del gruppo artistico S.O.S. (società occupazione spazi) e nel 2007 si è diplomato in scultura all’Accademia delle Belle Arti di Brera. La sua è una ricerca diretta ad approfondire i rapporti che esistono tra l’idea che c’è in scultura dello spazio progettuale con l’immaginario legato al senso dei luoghi reali, abitati dal corpo. Lo spazio architettonico, dell’azione teatrale/performativa e la fotografia, sono gli elementi di analisi che hanno costituito le tappe del suo percorso, diventandone parte integrante. Lives and works in Rome. In 2007 he graduated in sculpture at the Brera Academy of Fine Arts. He was co-founder of the group S.O.S. workshops. His research investigate the relationships between the sculpture idea of space and the imaginary linked to the sense of real places, inhabited by the human body. The architectural space, as the theatrical/performative are the main issues involved in his work. LA FORMA Numero speciale / Special number: Thessaloniki A cura di/curated by Tothi Folisi, Marco Trulli e/and Claudio Zecchi La Forma è un progetto di editoria fai da te low-cost e low-fi. Una rivista capace di raccogliere suggestioni narrative tese a raccontare una storia come se fosse un romanzo a puntate. Un romanzo sperimentale scritto a più mani coinvolgendo artisti, scrittori, fumettisti e critici, dando spazio a linguaggi tra loro completamente diversi. A Salonicco, durante la Biennale del Mediterraneo, è stato realizzato un workshop a cui hanno partecipato circa 30 artisti provenienti dall’area euro-mediterranea. Il workshop è stato finalizzato alla produzione di una sorta di quaderno di viaggio sulle memorie visive e narrative nate singolarmente da ciascuno degli artisti in residenza a Salonicco. La Forma is a “do-it-yourself” low-cost and low-fi publishing project. A magazine capable of collecting narrative suggestions to tell a story as if it were a serialized novel. An experimental novel written by multiple hands which involves artists, writers, cartoonists and critics accommodating at the same time diverse types of languages. During the Greek stage of BJCEM in Thessaloniki, was made a workshop attended by 30 artists from the Euro-Mediterranean area. The workshop aims to produce a sort of travel book on the visual and narrative memories born individually by each of the artists in residence in Thessaloniki. www.arci.it www.cantieridarte.org / arte.cantieri@gmail.com

BIENNALE OFF 14-15 DICEMBRE/DECEMBER ARCI FANFULLA DALLA PERIFERIA AL MACRO FROM PERIPHERY TO MACRO Info: www.fanfulla.org www.arci.it


www.incontragiovani.it - www.bjcem.org

Programme Biennale Rome 2011  
Programme Biennale Rome 2011  

XV Biennale de la Méditerranée - Final stage Rome, December 16th - 17th 2011 - Opening 16th Dec at 6 pm Cinema, Literature, Music After t...

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