A-Journal > publication

A-Journal / issue #0
by Archiviazioni

Edited by Giusy Checola and Pietro Gaglianò
Editorial staff: Giusy Checola, Pietro Gaglianò, Diego Segatto
152 pages – Italian / English version
Book design: Diego Segatto

ISBN: 978-88-909398-0-8

Digital print on demand at info@archiviazioni.org
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Contributors: Federico Bacci, Angelo Bianco, Giusy Checola, Leone Contini, Gaetano Cunsolo, Valentina Dessì, Fare Ala, Pietro Gaglianò, Lucia Giardino, Bernardo Giorgi, Daniele Guadalupi, Fritz Haeg, Rosa Jijon, Terry Kurgan, Lab.Pro.Fab., Ilaria Lupo, Juan Pablo Macias, Zen Marie, Ilaria Mariotti, Paolo Mele, Marialuisa Menegatto, Marlon Miguel, Museo delle Migrazioni di Lampedusa e Linosa, Kalliopi Nikolou, Paolo Parisi, Maria Pecchioli, Alessandra Poggianti, Katiuscia Pompili, Susanna Ravelli, Diego Segatto, Mirko Smerdel, Marina Sorbello, studio203, Stefano Taccone, Enrico Vezzi, Adriano Zamperini


A-Journal is a publishing space, that hosts texts and visual contributions by artists, curators, architects, theoricians and activists, designed as a platform for research and discussion on the relationship between art and public domain in Italy and the Mediterranean basin, in dialogue with European and extra-European contexts where similar problems, tensions and needs continue to generate experimental artistic paths in the public sphere.
In Southern Italy, where Archiviazioni mainly works, are starting to going on artistic, theoretical and interdisciplinary projects that aim at stimulate a shift toward a more aware vision of the central role that the individuals and the community can play in the management and the creation of the public space, accompanied by a recovered need for dept historical-critical analysis of art and culture in Southern Italy as a political form of protest and social life, starting from the sixties to today.

These paths reply to a growing demand for social-cultural, political and economical change, which, in its different acceptations and dimensions, is materializing with massive actions of protests from Middle East, towards the Maghreb and the Southern America.
The need of a different narrative of the context and its history, alternative to the reducing and conformist one promoted by the touristic marketing or by the colonial politics, reply as well to the need to analyse the imaginative and cognitive forms of subjucation of cultural and environmental biodiversities, that leads to the improverishment of our psicological and physical ability to survive to the systems crisis, to which Fritz Haeg opposes the practice of the domestic culture of human resourcefulness with the Domestic Integrity Field, the carpet that he produced at Pollinaria farmhouse, in the region of Abruzzo, on 2012.

As like as the growing number of participative and experimental projects in Southern Italy replies to the need of “staying” into its complex identities and cohabitations, and into the dualisms which derive from its being a place located between the sense of cultural and geographical belonging to the Mediterranean and to being constituent part of the political map of the so called “first world”. In this frame the text by Ilaria Lupo, Italian artist who lives and works in Beirut (Lebanon), adds the reflection on the condition of himan being as geographically relative, based on the idea that “we are all and none of the self-representations that we hide behind geographical marks, trying to avoid our instability”.

A-Journal / issue #0 is the outcome of Diaphasis, the mobile editorial unit that Archiviazioni sets up on the occasion of the residency at Corniolo Art Platform 2012. Artists, curators and experts of other disciplines that work about or in the Southern Italy met together in order to elaborate forms of collaborations and regional cooperation. A-Journal #0 collects the different active voices around the theoretical and practical experimentation on art, public space and public domain, as place for documentation, research, monitoring, planning and as their tool of diffusion.

The relationship between contemporary languages and public sphere, along with that immaterial landscape of tensions, needs, traditions, identity pulses, and authenticities in transformation, animated by actors who are strangers to the unusual system of art, is the last attempt to subtract the result of artistic creation from the rules imposed by the commercialization of the work, as writes Pietro Gaglianò. But not always the relationship between art and public domain is translated in un- commercialization of the work, the language and the practice itself, as like as not always, as notes Stefano Taccone – the need of art correspond to the need of the society”. Sometimes it is translated in the reduction of the concept itself of Public Art, as writes Angelo Bianco, where the artistic-aesthetic component is “only one of the many aspects that make up this interdisciplinary cultural practice” and where ” the clear inseparability of its components – the indistinct borders between aesthetics and urban planning, between the social and the architectural, make it so complex and layered as to be subjected to various reduction processes depending on how it is interpreted”.

Among these multiple tensions, in constantly updated and reviewed balance, is defined in the recent time the need to
codify according with the cultural but also political and economical current strategies, the processes of communication opened to society through a common language, which in addition to the importance to reach large social and professional networks, has led to the formulation of various collaborative models, where often the artistic and curatorial practice converge in the realization of group exhibitions, participatory projects, alternative pedagogical models and community art projects
(Giusy Checola).
This is the starting point for the research on radical redefinition of the language such as that developed by Campus in Camps, educational experimental program run at Dheisheh Refugee Camp (Palestine), of which Diego Segatto analyzes the methodology and the cultural and symbolic imagery, through a way of “learning in progress, whishing nothing more than to re-define the process of knowledge itself, adapting contents to specific needs and urges, here and now.”

Through textual and visual contributions by artists, curators, architects and theorists, A-Journal hosts and disseminates theoretical and artistic approaches, projects and experience carried out in the public domain and at the same lays the foundation for a not obvious vision of the cultural basins apparently-geographically remote, but troubled by similar tensions, open possibilities, desires. The texts are visual contributions coming from the interpretation of the issues arisen around the residency program of Archiviazioni at Corniolo.

In a section entitled Reconnaissance, A-Journal #0 also includes interventions of scholars, artists and activists which do not have participated at Diaphasis, but that present projects and texts about the recent experiences related to the public space and the sense of the places, like the one on the atrophied space written after the G8 in Genoa by Adriano Zamperini and Maria Luisa Menegatto, which is placed side by side to the image of Tayyipoly, the Monopoly game revisited by a Turkish activist aftermath of the protests at Gezi Park. The text explains how the places express their strength, and how “through a geography of inclusion and exclusion they express evaluations, impose activities, outline identities” (from Cittadinanza ferita e trauma psicopolitico. Dopo il G8 di Genova: il lavoro della memoria e la ricostruzione di relazioni sociali, / Citizenship wounded and psycho-trauma. After the G8 summit in Genoa: the work of memory and reconstruction of social relations, Napoli, Liguori, 2011).
Artist Leone Contini asks himself if “maybe the cohabitation among diversities is the fuel for violence since the moment in which the social contract decays”, which is a bio-political alliance between communities, a “contract build on the body”, that “gives access to a hybrid identity which is at the same time codified”. The Ecuadorian artist Rosa Jijon addresses the definitions of the place by revisiting critically the concept of “local”, as forced application of a paradigm to a more complex system than the simplification of the “global” can do understand, in a dreamlike dimension, in the most Southern we can imagine: Antarctica.