BINTITRES

Scabèciu

di Arrogalla

Scabèciu

Insemola e friggi il pesce, poi fallo marinare in un sughetto con pomodoro, aglio e aceto.
Aggiungi a tuo gusto tutte le spezie e gli odori che vuoi.

Produced and mixed by Francesco Medda Arrogalla at Codaruina StudioDrum by Pier Gavino Sedda (Tumbarinos de Gavoi)
Electroneddas by Carlo Spiga Makika
Guitars by Maurizio Marzo
Jew harp, flute by Massimo Loriga
Oud by Amin Makni
Tama by Pape Ndiaye
Voice by Emanuele “Lele” Pittoni (Ratapignata – Scudi prus a forti)

BINTIDUUS

Rien ne va plus

di Marco Colombaioni

* * *

Hannibal or Anti-history 

“Each story is accompanied by an indeterminate number of anti-stories, each of which is complementary to the other.” Claude Lévi-Strauss

Hannibal is the son of Hamilcar Barca, who was born two centuries before Jesus. Hannibal lived during a period of great tensions in the Mediterranean, when Rome was exercising its power over all the Western world. He earned his place in history as an outstanding strategist after crossing the Pyrenees and the Alps with an army that included elephants. After the victories of Trebbia, Trasimeno and Cannae, he occupied most of Italy. After a series of defeats against the Romans and a betrayal, he committed suicide. In the modern world, he has often been compared to military genii such as Napoleon or Wellington. 

Why would a young Italian artist choose a character like Hannibal – an African, since Carthage is in Tunisia – to trace his epic deeds, more than two millennia after their occurrence? How could this legendary figure serve the intent of a young European, a graduate of a Milanese art school? The answer lies in Marco Colombaioni’s biography. Even though we should pause for a moment on the painful day the young artist left us, I think it is important to spend some time on the articulation of this drama. To sumarise what happened, there is only one phrase that comes to my mind: a gift of the self. In this self-giving, we can perceive the anger and the revolt of a being for whom any injustice is unbearable. In this attitude – which is not heroic, as it has been argued here and there, but simply humanist – lies a strong will to dismiss fatality and to believe, instead, that human beings are responsible for their fate and choices.

It is with this aim in mind that, in the words of Lévi-Strauss, he got down to working out an anti-history. A story that, contrary to the maxim, does not correspond to that of the winners. Endeavouring to depict Hannibal’s saga – a soldier who preferred suicide to a life of submission – Colombaioni questions the very notion of ‘the winner’. The West, which, according to Jean-Paul Sartre’s Black Orpheus, has elevated his thought to the level of absolute truth, has for centuries refused to tolerate contradictions. This attitude is reflected in Hegel’s words, when, in 1830, he stated that Africa is an ahistorical continent. This desire to confine the continent to the outskirts of humanity betrays a clearly-articulated process of ideological domination. By choosing a Carthaginians who made the absolute power of the Roman Empire shake, the artist summons legendary figures such as Menelik, the Ethiopian emperor who defeated the Italian army; the Haitian Toussaint L’Ouverture, who successfully opposed the Napoleonic armies; or, even closer to us, Nelson Mandela, who managed to put an end to the iniquity of the apartheid regime. Thus, one should see in the choice of Hannibal a metaphorical character containing within himself many other figures. 

In Colombaioni’s treatment of the topic –  intentionally imbued with a realism that might be described as romantic – there are a number of symbolic axes that are worth dwelling upon at greater length: the arrogant figure of the  hunter before his trophy, which depicts the pathetic pride displayed by man – in this case a European man who takes pleasure in the power of his rifle gun and in the right of life and death over all life that it gives him; the image portraying a negro and two Roman soldiers, bound by an unlikely friendship born out of the sudden irruption of an elephant in their field of vision; and, finally, the elephant itself. The elephant is the materialisation of the anti-history I was referring to before. This is the staging of the fundamental contradiction at the heart of a world that believes itself to be the master of all things. The brute force of the animal, as opposed to the sophisticated Roman constructions; the contrast between this behemoth, king of Indian and African savannah, and the snow-capped Alps; the eruption of wildness  into the heart of civilization. With these constant oppositions, with these clearly-expressed mise en abîme, Colombaioni prompts us to look with a purified eye at misconceptions and false evidences, what the black-American writer James Baldwin called the evidence of things not seen. This is the Hegelian paradox of the master and the slave displayed before our eyes. Even if the story illustrated by the artist seems very distant from us, its echo powerfully resonates with a contemporary world where reflections on alterity are still to be done.

Finally, it might be interesting to note that the first exhibition dedicated to this work is held in a natural history museum: the neutrality of this space – a space a priori deprived of ideology, since the history it deals with is not that of wars and conquests – allows us to better see and understand.

Simon Njami

Vista dell’opera nella mostra “I quadri di Annibale”, 2012. Museo di storia naturale, Milano. Ph: Valentina Vitali

BINTUNU

You never know if the bees that are coming will pollinate you or kill you

di Real Madrid

BINTI

DOING NOTHING

di Isamit Morales

The following performance is an ode to pause;
a silent song to life being life.

Tracklist

Side A

Interlude “Yo no quiero esa normalidad de regreso” (I don’t want that normality back!)
Doing Nothing
Doing Nothing – After of Before Something

Side B

Recording Nothing 1
Recording Nothing 2
Recording Nothing 3

DEXANNOI

Basciò

di Isabella Bordoni

Un segno di buon auspicio, una fioritura di ex-voto. Un viatico, sia per i vivi per uscire con equilibrio dalla quarantena, sia per i morti nell’omaggio di un fiore mancato. E per gli uni e per gli altri, una carezza. 

A good omen, blossoming ex-voto. Sustenance, whether for the living to pass through the quarantine in serenity, or an offering for the flowerless dead. And for the one as for the other, an embrace.

DEXIOTU

The Natal Isles

di Alix Christie

DEXASETI

изуледда

di Carlo Spiga

Carlo Spiga “Makika”, Sa Tempesta, 2017
Testo: Paolo Mossa
Video registrato nel 2015 nella Repubblica di Tuva (Russia)

Firma, firma! A ue fues?
Clori bella, inoghe resta…
Mira chi grave tempesta
sun minattende sas nues.
Inoghe solu has iscampu:
firmadi, Clori inumana…
Sa ’idda est troppu lontana,
de percias nudu est su campu.
Firma! Ohimè, ite lampu…
No intendes ite tronu?

Fermati, fermati! Dove scappi?
Bella Clori, resta qui…
guarda che brutta tempesta
stanno minacciando le nuvole.
Solo qui trovi scampo:
fermati, ninfa Clori…
Il paese è troppo lontano,
di rifugi è nudo il campo
Fermati! Ohimè, che lampo…
Non senti che tuono?

Stop, stop! Where are you running to?
Beautiful Clori, stay here
Look what a bad storm
The clouds are  threatening
Only here you can escape:
Stop, unearthly Cloris
The town is too far,
The field is bare of shelters
Stop! Alas, what a flash …
Can’t you hear that thunder?

SEIXI

Altaria

di Antoni Sotzu

S’isuledda de Altaria, è abitata da oggetti domestici, 
memorie, attese e prosperità.
Un tappeto tondo li accoglie:
ci sono custodi di liquidi e materia, 
c’è un tempo del deserto a tre vasi, 
un suono campestre ossidato,
una spianata lapidea, 
la statua di una saggia testuggine,
una lama a sostegno. 
Si ritrovano tutti qui, in questo altare. 
In quest’isola.

CUINDIXI

Me voglio fà ‘na casa ‘mmiez’ô mare

di Justin Messina e Zeyn Joukhadar

Me voglio fa’ ‘na casa ‘mmiez’ ’o mare
di Gaetano Donizetti

Clavicembalo: Justin Messina
Voce: Zeyn Joukhadar
Brano registrato alla Fondazione Camargo
il 7 maggio 2020

Me voglio fa’ ‘na casa ‘mmiez’ ’o mare
Me voglio fa’ ‘na casa ‘mmiez’ ’o mare
Fravecata de penne de pavune
Fravecata de penne de pavune

D’oro e d’argiento li scaline fare
D’oro e d’argiento li scaline fare
E de pietre preziuse li barcune
E de pietre preziuse li barcone

Quanno nannella mia se ne va a affacciare
Quanno nannella mia se ne va a affacciare
Ognuno dice ognuno dice
Mo’ sponta lu sole

Me voglio fa’ ‘na casa ‘mmiez’ ’o mare
by Gaetano Donizetti

Harpsichord: Justin Messina
Voice: Zeyn Joukhadar
Recoded at Camargo Foundation May 7th 2020

I want to build a house in the middle of the sea
I want to build a house in the middle of the sea
Made of peacock feathers
Made of peacock feathers

(I want ) to make the steps of gold and silver
(I want ) to make the steps of gold and silver
And the balcony of precious stones
And the balcony of precious stones

When my baby shows her face at the window
When my baby shows her face at the window
Everyone says, everyone says:
Now the sun is rising!


CATORDIXI

Isolario quotidiano

di Ekin Can Göksoy

Questa immagine ha l'attributo alt vuoto; il nome del file è testo-Ekin.jpg

TREIXI

Self-Portrait / Devil with a Blue Dress On

di Xandra Ibarra

www.xandraibarra.com

DOIXI

Pai’figu

di Alessandro Cau

UNDIXI

IsolaCannolo

di Emiliana Sabiu

Starring: https://www.instagram.com/isolacannolo/

in collaborazione con: Derek MF Di Fabio

È stato Cannolo che mi ha tirato fuori di casa, e mentre lui inseguiva tracce odorose, io inseguivo macchie di colore, e di ossigeno.
In questa bolla densa e spessa, abbiamo visto quante cose interessanti succedono quando si è soli.

DEXI

L’ile des masques rouges

di Amy Sow

« (…) c’est un concept que j’ai développé depuis le début du confinement pour dire que les masques ne doivent pas seulement servir au coronavirus mais également à combattre les violences faites aux femmes.
C’est pour cela j’ai créé les masques rouges que je porte moi même»

NOI

Trans heaven is a house full of flowers and no word for shame

di Zeyn Joukhadar

Il paradiso trans è una casa piena di fiori, dove la parola vergogna non esiste

di Zeyn Joukhadar

OTU

Motu-Hiti

Alice Vercesi

E così il virus è approdato persino sull’Isola di Pasqua. Un lembo di terra sperduto a chilometri di distanza da ogni costa.

La mia mamma giramondo ci è andata in vacanza l’anno scorso. Per quell’occasione le regalai un libro. In questi giorni l’ho preso in prestito.

«Raccolse nelle fessure di Motu-iti le penne dei gabbiani e le intrecciò, le incollò con la polpa del ta-ompi, vischioso e tenace, e si fece un grande copricapo leggero che metteva nelle ore più assolate del giorno e gli teneva fresca la testa come una piccolissima nuvola.» (Roberto Piumini, Motu-iti L’isola dei gabbiani)

And so the virus even landed on Easter Island. A remote strip of land miles away from any coast.

My mom went on vacation there last year. For the occasionI gave her a book. These days I borrowed it.

“He collected the feathers of the seagulls in the crevices of Motu-iti, he braided and glued them with the pulp of the ta-ompi, slimy and tenacious, and he made himself a large light headgear to put on during the sunniest hours of the day, keeping his head cool like a very small cloud”. (Roberto Piumini, Motu-iti L’isola dei gabbiani)

Immagini da Calendario 2019

SETI

Scuola di Rock

Il Tempo dell’Oscurità

Il Tempo dell’Oscurità è una band formata da cinque amici, Edoardo (voce e chitarra), Ginevra (tastiere), Matilde (chitarra), Alice (basso) e Carlotta (batteria).

I I.T.d.O. si caratterizzano per un sound molto rock che guarda anche alla melodia, con riferimenti che vanno dai Deep Purple ai Kiss, senza disdegnare sferzate rumoristiche alla Sonic Youth (benché non li conoscano). Sul palco la band da il meglio di sé con un apparato performativo fatto di linguacce, corna e artigli che si elevano al cielo. 

“Scuola di Rock” è un omaggio al Rock, come potenza espressiva e collettore di amicizia. Il brano vede due guest, oltre alla formazione classica si alternano ben due batteristi, Carlo e Desirée.
Il brano è stato registrato e mixato da Makika.
Il Tempo dell’Oscurità è una band nata all’interno dei laboratori di musica dell’ Exmè di Pirri.

Il Tempo dell’Oscurità (“The time of Darkness”) is a rock band formed by five friends: Edoardo -vocals and guitar, Ginevra -keyboards, Matilde -guitar, Alice -bass- and Carlotta – drums. I.T.d.O. influences include Deep Purple to Kiss, and Sonic Youth (even if they have no idea who they are). On stage the band is at their best, using a performance apparatus made of tongues, horns and claws that rises to the sky. 

“School of Rock” is a tribute to Rock, as an expressive power and a catalyst of friendships. The song featured two guest artists, in addition to the usual line-up there are two drummers, Carlo and Desirée.
The song was recorded and mixed by Makika. Il Tempo dell’Oscurità is a band born inside the music workshops of Pirri’s Exmè.

SES

Conchiglia

di Leonardo Chiappini

CINCU

CUATRU

Social distance child games

by Alexandra Collins

TRES

JAZEERE

di Ibrahim Nehme

my jazeere sits on solid grounds. there are books written by women about women, there is poetry, there are love letters, there are French lessons, there is a book I want to let go of, there are old notes and new ideas, there are independent magazines and long forgotten zines. on my jazeere, i stand on giant shoulders. here, all is well.

La mia jazeere poggia su solide basi. Ci sono libri scritti da donne sulle donne, c’è poesia, ci sono lettere d’amore, ci sono lezioni di francese, c’è un libro che voglio lasciare andare, ci sono vecchie note e nuove idee, ci sono riviste indipendenti e zines a lungo dimenticate. Nella mia jazeere, sto sulle spalle di un gigante. Qui, va tutto bene.

DUUS

Aslema Beslama

dal progetto So Close, di Mass’art (Tunis) e Cherimus (Perdaxius)

Musicisti: Aymen Makni, violino e voce; Amin Makni, oud e voce; Maurizio Marzo: chitarra; Francesco Medda “Arrogalla”, computer e dubbingSoundCloud


UNU

Where Is The Ball?

di Yassine Balbzioui

Questa immagine ha l'attributo alt vuoto; il nome del file è Yassine_1.jpg