The gaze of the invisibles Emotion in words and images

<b>The gaze of the invibisible Emotion in words and images</b>Photographic Exhibit Opening Saturday April 16th 2016 at 7pm at the PARIOLIFOTOGRAFIA STUDIO PHOTOGRAPHIC GALLERY  2c francesco siacci street rome italy <b>The gaze of the invibisible Emotion in words and images</b>Photographic Exhibit Opening Saturday April 16th 2016 at 7pm at the PARIOLIFOTOGRAFIA STUDIO PHOTOGRAPHIC GALLERY  2c francesco siacci street rome italy <b>The gaze of the invibisible Emotion in words and images  </b>Photographic Exhibit Opening Saturday April 16th 2016 at 7pm at the PARIOLIFOTOGRAFIA STUDIO PHOTOGRAPHIC GALLERY  2c francesco siacci street rome italy <b>The gaze of the invibisible Emotion in words and images</b>Photographic Exhibit Opening Saturday April 16th 2016 at 7pm at the PARIOLIFOTOGRAFIA STUDIO PHOTOGRAPHIC GALLERY  2c francesco siacci street rome italy
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 The gaze of the invisibles
Emotion in words and images 

Photographic Exhibit

Opening - Saturday April 16th, 2016 at 7pm
at the ParioliFotografia Studio Photographic Gallery
 
ParioliFotografia Studio Photographic Gallery
is pleased to host from April 16th, 2016 to May 12th, 2016
The gaze of the invisibles
Emotion in words and images
Photographic exhibit of the Associazione Onlus Basilicata Mozambico

Info 
gilberto@pariolifotografia.it
39 068075666 / 39 3397781836

 
The photo exhibition “ The gaze of the invisibles”
This exhibition offers the glance of the students of the laboratory A Mundzuku Ka Hina, paradigm of the excluded, on their condition of being, on their world, on their external and internal life, on their soul.
Glances and feelings that start from the inside and interpretate, through creativity, a particular life condition, inner sensitivity and spirituality.
The sense of the operation is to give tools and skills back to the invisibles, the ones that don’t have a voice to express themselves so that, through images and words, they can process a personal narrative language.
That is to express one’s vision of the world from a formal and aesthetic point of view, let one’s voice be listened, free oneself from a kind of cultural colonialism that would rather see them narrated as conventional stereotypes, rather than narration architects.
 
La vita in fumo - Il popolo della discarica
Through photos, the A Mundzuku Ka Hina students, they themselves youth subsisting on the landfill, recount fragments of their own reality. Their own eyes and inner sensitivity interpret their condition of life, their external and inner world, their own sensitivity.
• The people of lixeira. Suspended portraits of the people of the dump, stripped bare of any useless intrusion or external variable, save, perhaps, a light blue plastic bag. Portraits suspended in an indefinite space or place, a sort of atemporal dimension, that take us beyond an objective registering of reality.
• Life in smoke. Smoke is a permanent feature of life in the landfill, a sort of filter between man and the outside world, between man and his own soul. We decided to use the smoke as a photographic filter or backdrop for our photos, almost as if wanting to adhere, dramaturgically and visually, in the metaphor
of photography, to an extreme state of being.
 
Emoçao/Emozioni - Legàmi/lègami
The inner world, creativity. Even there, where death and suffering are mandatory daily attendance, the man still finds the need to feel alive and to express and assert their vitality, their creativity, their right to be a man.
• Emoçao/Emozioni
“This year, we began our educational path starting with emotions, the more intimate and intense ones embedded in our feelings and often hidden in the recesses of our soul. These emotions, relived in their depth and intensity, are therefore restored through words and images. In this first phase, we chose
not to use computers or cameras as work tools, and to only use pen and paper, in a sort of automatic writing capable of creating an immediate and unmitigated relationship between our most intimate and deeply set feelings and outwardly expressing them. All of this was done in an effort to internalize what it means to recount or tell a story – to bring back emotions and do away with commonplaces – and to translate experienced or perceived emotions into written or visual images organized in a narrative. Each one of the students tried to put three images into words that could convey the depth of the relived emotion,
a poem that in three verses could summarize that particular emotion of their own life. Images, simple but profound, were born in poetry. Incisive. At the end of the process, after having translated those emotions into stories, sounds and body movements, we translated the word images into photographic and graphic images, availing ourselves of those technical, formal and stylistic procedures and approaches capable of powerfully and effectively communicating our feelings.”.
• Legàmi/lègami
Sometimes our emotional ties, our emotions, become prisons.
 
 
The environmental context
Maputo, Mozambique, 1 million, maybe 2 millions of inhabitants. The well-off districts in the city centre and, as you go into the suburbs, mostly expanses of huts with no services where daily survival is scratched with nails and with a slow and serene force of desperation. Planimetric metaphor of our planet’s economic and social geometries. In Maputo there’s a district, the Barrio of Hulene, called ‘the landfill district’, because it’s been built around the city’s big landfill. Mountains of stratified garbage overlook the houses, whose slopes are starting to overflow. Every day roughly seven hundred families - men, women, children and the elderly – eke out a narrow living in these new mines of modernism by digging. They dig up plastic, bottles, metal and food scraps, most often rotten, anything that at the end of the day can help them and their families scrape by in stunted survival.
The sun’s glare, the gleam emitted from its reflection on glass, plastic or whatever; the backlit figures in silhouette who, characteristic of this almost ethereal people, move lightly behind the curtain of smoke and dust, creating a surreal treasure chest in its dimension of crude and sickening beauty.
Metaphisical setting, translated image of our aseptically modern world, a sort of inverted utopia of own destiny.
Where life, against any expectancy, swarms, creativity explodes and love spreads. Even in misery and privation, along paths paved with pain and too often with oppression.
The Lixiera is a resource for survival, but also a space for existence, shelter and home, place of meeting and exchange, of friendship and passion, of clash and abuse.The place where all things go to die becomes the paradoxal start of a new life, made not only of desperate survival but also of vibrating vitality.
The invisibles of Hulene, the landfill district
Despite an existence that walks on the esile ridge thatdevides life from death, inside this economy, human, social and artistic circuits came alive, creative paths developed. New tribes, uncoded by today’s trends, were born among the inhabitants of this metropolitan suburb, in the refuse of a tradition often reduced to folklore and that can’t give adeguate answers to the new expressive instances coming from below.
That can’t interpretate new economic, human and cultural geographies whose protagonists, the
invisibles, are risking to get smashed or just cancelled in the rampant cultural and economic omologation.
The new tribes of the invisibles of Hulene carry on, in their way, a spontaneous research of new languages and expressive forms corresponding to their condition of submission and to their feelings. To their desire to break free from inhuman life conditions. Unaware bringers of creative seeds that, still immune to omologation and stereotypes, found an autonomous form of expression.
In their rhythms, in their music, in their way of clothing and of sculpting time and matter, they express their condition, their vision of the world, their struggle for life. That isn’t just desperation, but also tension, even if unconscious or not rationalized, to surpass the existing. To go beyond, to get over the edges of daily life, of both physical and psychic ghettoes, to rediscover one’s soul.
In a reality suspended between prehistoricism and postmodernism, in matter, spirit and magic, and in the floating between these two polarities it finds its originality and expressiveness. Even where death, privation and sufferings are daily presences, man still finds the need to feel alive and to express and affirm his vitality, his creativity.
 
A Mundzuku Ka Hina
A Mundzuku Ka Hina is a communication workshop dedicated to the children who survive on the dump in
Maputo, Mozambique, to orphans and street children.
The project was created by arch. Roberto Galante, who, since 2009, has been conducting it with the support of the Association Basilicata Mozambico from Matera, Italy. The workshop teaches photography, video, graphics and digital literacy, attempting to intercept the intense and sometimes chaotic vitality that the youth express and to channel it along creative paths. In addition to providing professional training, the workshop aims at being a laboratory of ideas, creativity and humanistic confrontation; a place where different experiences, cultures and paths of life converge and each is acknowledged as having equal dignity. Our aim
is to develop in our students the listening and observation skills needed to understand and interpret reality. We do this through continuous comparison, the suspension of judgment, and training based on listening, centers of perception and emotional intelligence as towing the other intelligences.
The acquisition and elaboration of these qualities is manifested in the resulting images.
The principle animating our operation has been to restore tools and skills to the invisible, to those who have no voice or tools to express their own feelings, so that through images and words they can develop their own original narrative language. This means giving them the opportunity to express their own independent view of their inner and outer world, also in terms of form and aesthetic.
In these years the lab has produced photographic, video and graphic material characterised by a remarkable communicative, emotional and aestethic thickness.
The students’ works have been exposed in photographic exhibitions, the documentaries
were showed in international festivals, obtaining prizes and awards. Magazines and tv networks produced some services on us.
The students’ photos show a though reality, difficult to accept. “ A look that comes from inside and that, with its truth, shock us, calls us, makes fragments of a submerged and anestethized reality emerge, fills the gashes, makes new fruits sprout, gives us back to ourselves, it makes us think. The narration, through photographic images, transcends their degraded condition and places this humanity in a dimension of beauty that provokes, moves and redeems.”
 

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