When the term “resistance” is used, its political meaning is often associated to the concept of “persistance”. Cinematographic image should be soaked of “persistance” in order to be able to radicalize reality. Sylvain George is a young filmmaker who is practicing this concept in his solitary and obstinate work. Since ten years he has been searching for a new cinematographic form which might be able to give dignity to migrants and people marginalized. Read More
I call myself the Class Whisperer. I arrive in schools, either kindergardens or universities, where teachers/professors are having problems with disruptive kids and classes. I get there with a camera crew to film every single moment. It’s not the kids I am addressing for a change, I appeal to teachers. I try to make them aware of the most powerful resource they did not yet use till that moment: their ability to connect to any single kid in the class. The teacher might sincerely think that it’s the kids that are difficult, hard to handle, lazy, disruptive, but he wasn’t aware of the fact that kids react to his/her state of mind, to his/her behavior, to his/her energy. In most cases the teacher’s energy is either gone, or built up to frustration, anger, impatience or even disappointed sadness.
German society is changing, unlikely German institutions. Access to culture is limited or barred through ingrained social and cultural barriers. Theatrical experiences take place in commercial venues and location that are too similar to closed and unapproachable towers of “high culture”. Far away from particularly socially deprived areas, usually labelled in German ‘Brennpunkte’. Read More
What’s the E.M.A. project and how does it link with the debate on cultural and virtual heritage?
E.M.A. born as archive to collect under an anonymous form individual personal memories.
Those who transfer their own memory to the archive, do it on a permanent basis, giving up every exclusive right on it. Every donor gets in exchange the entrusting of another person’s memory, and the certificate attesting the right of using it as his/her own. This opens to various spreading or appropriation possibilities, until the potential inclusion of it in his own autobiography. E.M.A. doesn’t aim to the preservation of a historic or collective memory, but of a personal, private memory which is naturally intended to erosion.
An archive of ephemerals: isn’t it a paradoxical practice?
The paradox is productive, because the archive’s role isn’t to cherish, but to transform a personal property in a collective heritage. A heritage where the value doesn’t lie on the single assembled units, but on its faculty, once shared (swapped), to create unknown connections between individuals. Read More
Uno spazio, in via Orcagna a Milano, completamente ad ingresso libero, che propone ogni settimana spettacoli con parole, musica e danza e concerti. Lo Spazio Teatro No’hma Teresa Pomodoro, diretto artisticamente da Charlie Owens e gestito da Livia Pomodoro, presidente del Tribunale di Milano e sorella di Teresa, non ha eguali in Italia.
No’hma è un luogo aperto alla cultura dell’umano, solidale ed etico, che utilizza risorse e sponsorizzazioni per fare dono al pubblico di ingressi liberi e gratuiti nella convinzione di svolgere un’azione sociale nel nome della cultura. Read More
Volenti o nolenti, ogni giorno interagiamo e ci muoviamo in spazi comuni, luoghi pensati per essere vissuti dalla collettività ma amministrati (o dimenticati) dai governi. Le Amministrazioni definiscono i processi di costruzione della memoria e le rappresentazioni, decidono cosa e come vediamo. In Albania l’interazione tra sviluppo urbano, politiche, furti, atti vandalici, odio e ignoranza è evidente e spesso ascrivibile al concetto di dissonanza cognitiva.
L’interesse verso i beni comuni si concretizza in tre modi: responsabilità, relazione tra passato e contemporaneità, civilizzazione. Read More