I ART NETWORK
CLUSTER BIO-MEDITERRANEUM
'We tend to go through places without inhabiting them. The performance tries to offer people the opportunity to understand that the space between us, as well as that around us, and its history belong to us, even if we inhabit them only for a short amount of time. The awareness of one’s own identity in relation to one’s own place must be cherished and nurtured ‘ . Elena
The project ‘lo scarto’ developed by Elena Cologni, italian artist resident in the UK selected for a the IArt Residency in Sicily with CLAC, produced 10 drawings, 40 sculptures ‘for hands’, two workshops (22-23 April) and a final performance in the Sistema delle Piazze (central square system) in Castelvetrano Selinunte on 24th of April 2015.
Cologni states: ‘ During my residency I tried to understand Danilo Dolci’s dialogic dynamics, by translating his ‘reciprocal maieutics’ through drawings, sculptures and performance to highlight the meaning to be found in the space, and indeed distance between people during the communicative act: lo scarto (the left over, the scrap). The intimate dimension in the one-on-one exchange dynamics, but also the more widely social engagement in public space, where inevitably history plays a role.
Workshop 1: ‘waiting for a unique/scarce moment of synchronicity from the part of the other’ (Giuseppe, notes from a workshop with Danilo Dolci, 1990’s), aim: to understand reciprocal maieutics (Danilo Dolci) through a prelinguistic approach, while trying to ‘see’ the space among us.
Workshop 2: ‘the structure of silence (physical as well as temporary spaces)’ aimed at: understanding reciprocal maieutics through a prelinguistic approach, while trying to ‘see’ the space among us and with the architecture (Dolci, D., Dal trasmettere al comunicare, 2012)
Lo scarto thus is one of the concepts by Dolci adopted in the performance event on 24th April in the main square system, defined in collaboration with the workshops’ participants Aurora Taormina, Francesca Bianco, Marilyn Buscemi, Alessandra Sparacia, Federica Passanante, Roberta Marchese, Enza Valentina Di Piazza, Irene Moceri, Gabriele Marchica, Vito Cafiso. These mainly teen agers, worked in pair to share their movement based interpretation of such concepts as: scarto/scrap, action-reaction, obstacle, silence and listening. Such movements have reactivated a reading of the past through a punctuation of the architecture, bearer of the history of this place where religion and nature, myth and science intertwined, and are still imbedded in its people’s lives (highlighted in the design for site specific performance Bellumvider Castle of Frederick II, San Pietro church, Selinus theatre, Ninfa fountain, intersecting trajectories from specific viewpoints in the squares).
some of the comments:
'Elena you operated by connecting craft, local history, architecture, students and passers by, producing relational spaces. You worked as Danilo Dolci would have, through sharing at various levels… almost forgot, with your kids too, just like Danilo used to.’ Giuseppe
'I liked this particularly because it takes the group to relate to the outside. Looking at this from the outside I found this moment important…. to work with this youngsters and in the moment when they expose and present themselves, like this, sitting down in the square, and people might think ‘what do they do?’, then, to get to that point… it involves a development, a particular maturity, one does not achieve it just like that: this involves the work of a person who ‘does maieutics’ ?. Pino Lombardo
from the participants:
'I particularly liked the “pollination” moment, I saw people very curious and engaged, and this was very surprising for me, I did not think they could have such a positive reaction. The group helped me a lot, really feeling others working with me, and, by looking at each other, I noticed that we could often understand each other without too many words, and to find silence again, and focus.....A new way of working and a new way of learning, taking from giving. …' (Roberta Marchese)
' It has been very useful to think about silence, as we did when we were laying down in the workshop.... in the end interferences have been integrated in the work, and every sound, voice became part of the background'. (Enza Valentina Di Piazza)
Alessandra Sparacia, shared her worries and fears for the future, just a few hours after the tragedy on 19th April, when some 700 migrants died a few miles away, while looking for a better life. Alessandra shared with us her moment of realization too, through the reciprocal maieutics approach, by saying that it is only through knowing the unknown (transpassing the gap/lo scarto) that we can overcome fear, and this was embedded into one of the actions of the final performance, where she was balancing, while looking for support, on one of the provided wooden boards with Francesca.
'It was a truly life changing experience for me, as I hoped it would be'. Elena Cologni
Elena Cologni thanks the organizers of IArt, CLAC, Museo Civico Selinuntino and Comune of Castelvetrano Selinunte, CRESM, Belice Epicentro della Memoria Viva Gibellina, la Rete Museale e Naturale Belicina, Liceo Classico Giovanni Pantaleo and the ‘Akkademia del Teatro Selinus, as well as all people who gave their time, passion, dedication, culture and experience thus activating the exchange vital for the realization of the project
rockfluid.com/lo-scarto
'We tend to go through places without inhabiting them. The performance tries to offer people the opportunity to understand that the space between us, as well as that around us, and its history belong to us, even if we inhabit them only for a short amount of time. The awareness of one’s own identity in relation to one’s own place must be cherished and nurtured ‘ . Elena
The project ‘lo scarto’ developed by Elena Cologni, italian artist resident in the UK selected for a the IArt Residency in Sicily with CLAC, produced 10 drawings, 40 sculptures ‘for hands’, two workshops (22-23 April) and a final performance in the Sistema delle Piazze (central square system) in Castelvetrano Selinunte on 24th of April 2015.
Cologni states: ‘ During my residency I tried to understand Danilo Dolci’s dialogic dynamics, by translating his ‘reciprocal maieutics’ through drawings, sculptures and performance to highlight the meaning to be found in the space, and indeed distance between people during the communicative act: lo scarto (the left over, the scrap). The intimate dimension in the one-on-one exchange dynamics, but also the more widely social engagement in public space, where inevitably history plays a role.
Workshop 1: ‘waiting for a unique/scarce moment of synchronicity from the part of the other’ (Giuseppe, notes from a workshop with Danilo Dolci, 1990’s), aim: to understand reciprocal maieutics (Danilo Dolci) through a prelinguistic approach, while trying to ‘see’ the space among us.
Workshop 2: ‘the structure of silence (physical as well as temporary spaces)’ aimed at: understanding reciprocal maieutics through a prelinguistic approach, while trying to ‘see’ the space among us and with the architecture (Dolci, D., Dal trasmettere al comunicare, 2012)
Lo scarto thus is one of the concepts by Dolci adopted in the performance event on 24th April in the main square system, defined in collaboration with the workshops’ participants Aurora Taormina, Francesca Bianco, Marilyn Buscemi, Alessandra Sparacia, Federica Passanante, Roberta Marchese, Enza Valentina Di Piazza, Irene Moceri, Gabriele Marchica, Vito Cafiso. These mainly teen agers, worked in pair to share their movement based interpretation of such concepts as: scarto/scrap, action-reaction, obstacle, silence and listening. Such movements have reactivated a reading of the past through a punctuation of the architecture, bearer of the history of this place where religion and nature, myth and science intertwined, and are still imbedded in its people’s lives (highlighted in the design for site specific performance Bellumvider Castle of Frederick II, San Pietro church, Selinus theatre, Ninfa fountain, intersecting trajectories from specific viewpoints in the squares).
some of the comments:
'Elena you operated by connecting craft, local history, architecture, students and passers by, producing relational spaces. You worked as Danilo Dolci would have, through sharing at various levels… almost forgot, with your kids too, just like Danilo used to.’ Giuseppe
'I liked this particularly because it takes the group to relate to the outside. Looking at this from the outside I found this moment important…. to work with this youngsters and in the moment when they expose and present themselves, like this, sitting down in the square, and people might think ‘what do they do?’, then, to get to that point… it involves a development, a particular maturity, one does not achieve it just like that: this involves the work of a person who ‘does maieutics’ ?. Pino Lombardo
from the participants:
'I particularly liked the “pollination” moment, I saw people very curious and engaged, and this was very surprising for me, I did not think they could have such a positive reaction. The group helped me a lot, really feeling others working with me, and, by looking at each other, I noticed that we could often understand each other without too many words, and to find silence again, and focus.....A new way of working and a new way of learning, taking from giving. …' (Roberta Marchese)
' It has been very useful to think about silence, as we did when we were laying down in the workshop.... in the end interferences have been integrated in the work, and every sound, voice became part of the background'. (Enza Valentina Di Piazza)
Alessandra Sparacia, shared her worries and fears for the future, just a few hours after the tragedy on 19th April, when some 700 migrants died a few miles away, while looking for a better life. Alessandra shared with us her moment of realization too, through the reciprocal maieutics approach, by saying that it is only through knowing the unknown (transpassing the gap/lo scarto) that we can overcome fear, and this was embedded into one of the actions of the final performance, where she was balancing, while looking for support, on one of the provided wooden boards with Francesca.
'It was a truly life changing experience for me, as I hoped it would be'. Elena Cologni
Elena Cologni thanks the organizers of IArt, CLAC, Museo Civico Selinuntino and Comune of Castelvetrano Selinunte, CRESM, Belice Epicentro della Memoria Viva Gibellina, la Rete Museale e Naturale Belicina, Liceo Classico Giovanni Pantaleo and the ‘Akkademia del Teatro Selinus, as well as all people who gave their time, passion, dedication, culture and experience thus activating the exchange vital for the realization of the project
rockfluid.com/lo-scarto
