Isuleddas (little islands) is a space for sharing ideas, thoughts, images, and sounds to hold us all together in an archipelago, to tell something about our islands, to invent new names to write around us, new ways of being represented, in a world that is bouncing here and there like a rubber ball

TRINTANOI

Drawings for O.U.T

By Marco Colombaioni

“Drawings for O.U.T. (office for urban transformation)” 2005, ink jet print. I used to spend most of my free time sketching some simple drawings on a pc using MS  Paint. The drawings of this series illustrate Isola Art Center’s everyday life, the never-ending transformation of the space, the utopic vision, the exhibitions, the events, the people, but also the constant sense of precariousness, the cold, the fight against a massive gentrification project. I showed these drawings for the exhibition “tre visioni per la stecca degli artigiani” curated by Bert Theis and Alessandro di Giampietro.

Marco Colombaioni

TRINTAOTU

Ecco la fregola!

by Zia Maria, with Yassine Balbzioui e Matteo Rubbi

On 29 November 2015, Yassine Balbzioui and Matteo Rubbi asked Zia Maria for assistance in learning how to make Sardinian sa fregua for the Côte à côte project, curated by Susana Moliner Delgado of La Companyìa and Emiliana Sabiu of Cherimus. Artists and friends passed by Perdaxius over the years have met Zia Maria and tasted her ravioli, her fatti e fritti, her magnificent pardule. Aunt Maria was a piece of Cherimus.
The footage Yassine made then is even more precious to us today.
Zia Maria we will miss you infinitely …

TRINTASETI

L’incompreso

by Santo Tolone

TRINTASES

NINIENDI SU PIPPIEDDU

by Marco Colombaioni, Cleo Fariselli, Diego Perrone, Andrea Rossi, Matteo Rubbi, Emiliana Sabiu, Carlo Spiga

An Isuledda of the Christmas past. In 2009 the small Pisan Romanesque church of San Giacomo in Perdaxius was reopened to the public after years of neglect thanks to a nativity scene created together with the town’s schools. Cleo Fariselli created with the children a comet never seen before; Marco Colombaioni and Matteo Rubbi built the characters, humans and animals, and the starry sky; Diego Perrone, on the other hand, thought that all the figures in the nativity scene should have ears made of cookies.

This video is a relic from our archives, a local TV report that magically reappeared. Good vision and happy holidays.

TRINTACINCU

AHAYU

by Teresa Alemán

TRINTACUATRO

A well prepared cocktail

by Ivan Buenader

TRINTATRES

Optimal Condition

by Scott Rogers

TRINTADUUS

So Long
(Isola Art Center, Milano, 12 aprile 2007)

by Alek O.

TRINTUNU

Echta

by Matteo Visentin

It has no ground to which to anchor itself, nor a fixed geographical position. It is a wandering island, which takes up no space but rather covers it, like a shadow.
it could well be imagined as an upside-down galleon, hull to the sky, with sails that unfur from the masts to nearly touch the earth; or like a long-haired dog. 
on its belly – or on its sails, depending whether the image of the dog rather than that of the ship is preferred – drops of water from the sea are collected, which allow themselves to deposit clusters of salt upon evaporating. These drops reflect the light that filters in from outside, such that time is not expressed in the succession of day and night but exists as a constant penumbra.
if, in the describing of it, it becomes difficult not to resort to metaphor, it is because, on the island, there is no space for abstract reasonings. Everything is naked and exists for what it is, with no need of being hidden.
The air one breathes is tepid and soft, like an embrace exchanged while wearing a puffer coat, its odor like that of bitter chocolate. An aroma particular to this place and this alone, so intense that it seems to occupy a physical space. and in fact it could be said that it is just this that makes Echta the place it is: when the odor vanishes, the island, too, is left behind.

Translation by Zeyn Joukhadar

TRINTA

Su ballu ‘e s’arza

by Transhumanza

Transhumanza naschet dae su bisòngiu de ponner a pare sas biddas e is giassos de sartu de Sardìnnia cun sa chirca artìstica de is tempos nostros, boguende a pitzus un’avolotu intre traditzione e sperimentadura, autzende limbàgios e bisuras noos.
Transhumanza est su giassu prus profetosu po nde pesare una retza de relatas intre quine si nch’andat, quine arribat e quine abarrat, una còntiga po fraigare mamentos de atòbiu e de cumpartzidura de costumàntzias artìsticas diferentes.
Que a is pastores qui, mòvidos dae sas stajones qui detzident is bisòngios, traessant is logos in chirca de pabariles noos, TransHumanza est su sprigu de su bisòngiu naturale de tramudare e de ammesturare mundos diferentes.
Su progetu est pentzadu que a unu caminu a tapas fatu de eventos minores, cun ammustros e intervènnidas site-specific in tretos bòidos e qui a su sòlitu sunt allargu dae ue benit fata s’arte.

****************************************************************

Transhumanza comes from the need to connect the rural areas in Sardinia with the Contemporary artistic research, in order to stimulate new imaginative ways of communicating between tradition and experimentation.
Transhumanza is the ideal place to harbor a thick web of relationships among those who come and go and those who stay, offering the opportunity to share diverse artistic practices. Like shepherds, who drift through the different seasonal cycles, looking for new pastures; Transhumanza reflects that natural disposition to migrate towards new possibilities developing alternative contaminations between worlds.
This project forms a path disseminated with various events, exhibitions and site-specific interactions in disused spaces or where art is not usually contemplated.

BINTINOI

Elementare – L’isola della notte

by Amigdala

Elementare, è un’isola che risorge ogni sera per accogliere chi proviene dalle isole vicine o dal continente. Ci si arriva con galeoni speciali, fortezze di legno con vele e pennoni che ricordano quelle dei pirati di certe avventure fantastiche.
Elementare è un’alleanza temporanea tra pubblico e artisti, chiamati a condividere insieme il tempo di una notte. In uno spazio attrezzato per il sonno prende forma una comunità provvisoria. Nell’Isola della notte gli attori eseguono un canto rivolto alla notte, come tempo di sospensione e sovvertimento.

L’Isuledda è ispirata alla produzione Elementare (2018) del collettivo Amigdala: http://bit.ly/2NMhKxK 
Immagine di Sara Garagnani
Musica: Meike Clarelli
Testi: Gabriele Dalla Barba
Conduzione coro: Davide Fasulo
Voci: Meike Clarelli, Elisabetta Dallargine, Vincenzo Destradis, Davide Fasulo, Fulvia Gasparini, Antonio Tavoni

BINTIOTU

moho en trozos de piel de aguacate
(mold on pieces of avocado skin)

by Luca Garino

BINTISETI

Backstage of an Island

by Miguel Palma

The work “Backstage of an Island” is based on the construction of a sculpture that resembles a tent but which, instead of being shaped like a pyramid or a semi-sphere, has the morphology of the island of São Miguel. Like a camping tent, it is a portable piece, easy to assemble and dismantle. This equipment consists of a wooden base, about two meters width and a cut that relates to the aerial view of the island of São Miguel. This base is lined with a waterproof and plain colored fabric that gives the illusion of the island’s morphology.

* * *

“Conta-se, aqui, que um dos medos estruturais na história do Arquipélago era o dos piratas. Outro seria o do isolamento. Ou seja, de movimentos invasivos à impossibilidade de evasão, a insularidade obrigaria a um estado de espírito de alerta e tensão constantes, algo que muito provavelmente define, no fluir de gerações, um carácter muito próprio aos habitantes destes pedaços de terra que, por sua vez, na sua condição vulcânica, já de si constituem pano de fundo suficiente para uma tensão invisível e insidiosa só ultrapassável pela rotinas da existência, das mais sublimes como o amor ou o instinto de preservação, às mais banais, como os repetidos gestos do quotidiano que maquinalmente erigem um tempo sem espessura dramática.”

Miguel von Hafe Pérez

BINTISES

Romance of Window Wipers

by Holly Fletcher & Diane Edwards

BINTICINCU

Isola Caterina

by Villa Caterina (Giulia Leone, Makika and Margherita Riva)

La quarantena, tre lumachine nel loro guscio, un corridoio, un microfono nel mezzo, un po’ di taglia e cuci et voilà!

Featuring
Giulia Leone: trumpet, guitar, eletronics from distance
Margherita Riva: pandeiro, jew’s harp
Makika: sampling, launeddas, dissoneddas, bass

BINTICUATRU

You Must Change Your Life
(Du mußt dein Leben ändern)

by Andrea Rossi and Matteo Rubbi

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

by Marco Colombaioni

* * *

BINTUNU

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

by Real Madrid

BINTI

DOING NOTHING

by 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

By 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

by Alix Christie

DEXASETI

изуледда

By 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

by Justin Messina and 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
Recorded 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

by Ekin Can Göksoy

TREIXI

Self-Portrait / Devil with a Blue Dress On

by Xandra Ibarra

www.xandraibarra.com

DOIXI

Pai’Figu

by Alessandro Cau

UNDIXI

IsolaCannolo

by 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

by 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

by Zeyn Joukhadar

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

di Zeyn Joukhadar

OTU

Motu-Hiti

by 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

by Leonardo Chiappini

CINCU

CUATRU

Social distance child games

by Alexandra Collins

TRES

JAZEERE

by 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

from the project So Close, by Mass’art (Tunis) and Cherimus (Perdaxius)

Musicians: Aymen Makni, violino e voce; Amin Makni: oud and voice; Maurizio Marzo: guitar; Francesco Medda “Arrogalla”: computer and dubbing

UNU

Where Is The Ball?

by Yassine Balbzioui

Click the image and download the pamphlet “Working Between Islands”

A child looks at the neighborhood of Kibera from above. He points to it, his finger like an antenna. His gaze is determined; he wears a strange apparatus on his head, from which wires connect to his radar-hand—a technology of which we know nothing. This character explores the narrow streets of Kibera, greets passersby with his fist, and unleashes the dreams they nurse in their minds. Here are their dreams, one after another: the superhero Mr. Impossible (and all the other superheroes of Kibera, a project of the artist collective Maasai Mbili); the superhero designer; a trip to the moon with spaceships made of Ugali (a typical Kenyan cornmeal dish) to party with aliens; a skilled engineer and an aerospace pilot ready to take up the challenge; the acrobat, Dj Max who performs on Matatu; the singer Beautiful Stranger who records her first hit; and many others. The child who reads dreams gathers all the children of the city behind him, and everything eventually turns into a big party—one which really happened in the middle of the Kibera neighborhood among its little shops, bars, churches and mosques, and thousands of artisans.
Bisu Ndoto, the title of the video clip, means “dream” in Sardinian and Swahili. It brings together the two souls of the project, which started with some workshops in schools in Iglesias, Sardinia, in February 2017, and which has lived its central and final phase with the cinema, art, and music workshops in Nairobi.
The video is based on the dreams of a group of children and young adults from Kivuli and Ndugu Ndogo rescue centers: Albert, Allan, Amos, Arafat, Cate, Cristal, David, Dennis, Domitila, Douglas, Evan Kibe, Jeremy, Mary , Michael “MC Barr” Barnabe, Newton, Peter, Phylis, Rebecca, Samuel, Samuel, Sarah, Shedrak, Stella, Stephen, Simon, Teddy, Titus, and Vanessa. Maasai Mbili participated in the video, with their and Njung’e Peter’s project “The Superheros of Kibera.”
With the children as protagonists, the video was shot and edited by the director Andrea Canepari with the support of Guido Bosticco, Guido Mariani, Cherimus, and the children themselves.
The music, produced by Francesco Medda in the recording studio of Mega Link Ent. of Kivuli Center, contains the contributions of: Charles “Sober Boy” Kaylech, Hussein Farouk “The Tall Guy” Ali, Idris Abdul Ismail, Mopel “Original Xloader,” Carlo Spiga “Makika.” Guido Bosticco, and Andrea Canepari. The mix was made by Francesco Medda “Arrogalla” and Carlo Spiga.
The costumes and props were made during workshops led by Derek MF Di Fabio. The stories were written and staged during workshops directed by Andrea Rossi, Matteo Rubbi, and Emiliana Sabiu. The scene photographs were taken by Vincenzo Cammarata.
The workshops and video clips were also created in collaboration with: Chiara Avezzano, Fiammetta Caime, Camilla Garelli, Vincenzo Cammarata, Jack Matika, Boniface Okada, Niccolò Terzi. A special thanks to Alberto Colzani for his support.

The soundtrack of the video Bisu Ndoto is the result of musical workshops led by Francesco Medda. The Sardinian musician worked together with Charles Kaylech, Hussein Farouk Ali, Idris Abdul Ismail, and Mopel in the production studio of Kivuli Center (Mega Link Entertainment). In addition to the voices and words of the musicians, the song is strongly characterized by a field research of sounds of the neighborhood and of the city. Throughout the month of April, the workshop didn’t stop for a moment: it intertwined sounds and places; the hours of day and night; the steps of Charles, Farouk, Idris, and Mopel through the streets of the city; and Maasai, Kiswahili, and Sweng, the slang of some neighborhoods of Nairobi that combines English and Swahili. Carlo Spiga (whose Sardinian trunfa accompanies the voice of Mopel at the beginning of the song), Guido Bosticco, and Andrea Canepari also collaborated on the soundtrack.
The final song, produced by Francesco Medda and mixed in collaboration with Carlo Spiga, has become the A side of the 45th “Bisu Ndoto,” one track of an album that collects and highlights the precious contributions of young Kenyan musicians. The boys involved in the music workshop are all at the start of their professional careers after having chosen to no longer live on the street and having undertaken a long rehabilitation and educational journey in the Koinonia Community centers. The song was recorded and produced in the production studio Mega Link Ent., managed by, among others, Idris Abdul Ismail and Hussein Farouk Ali.
About the musicians Hussein Farouk “The Tall Guy” Ali and Idris Abdul Ismail “Drisa,” we report the lyrics of their sections:

Idris Abdul Ismail

Kama kawa ida
Kama kata gave inanilipa tax ushuru
Niko zile za icecream na kupiga nduru
zile za kubangaiza na ku park Uhuru
ju kwa rap naingiza paper si ma ndururu
daily on air ka arufu ya samaki
design na ongea ni ile ya Kibaki
niko left na right ka mse ameachiwa haki
ku outshine ma mc ka vitu sitaki
so nipate ju ya banana nikikula ndizi
ju mtaa wanani support na ulizi

As usual
As usual, the government pays me taxes
(means: as usual I pay the taxes of the government – in an ironic sense)
I’m enjoying an ice cream and I’m having fun around (shouting)
I’m wasting my time at Uhuru Park
when I make money I make money (banknotes) not small change
I’m all day in the air like the smell of fish
my way of talking is like Kibaki’s
(I speak as Kibaki)
everywhere I am as free as someone who has seen his rights recognized
eclipse all the other rappers (musicians) like everything I don’t want (which I don’t like)
so you find me on a banana while I eat a banana
because my family helps me and gives me security
stizza listen

Hussein Farouk Ali

I look up to the mirror and I see
I see myself standing I’am the new born king
Haters talking mad they are talking more about me
But the truth of the matter nobody knows about me
And music is my life ne mu manyire nyi vosi
– e lo sanno tutti – everybody knows that –
the way I spit the rimes people think I’m from Jozi
Holla we holla we aint flossing
Ata mama manyire mi ni murosi
– even my mam knows I am the best –
The way I spit rimes flow rimes I am a bola
hold up
the true definition of a bola
hold up
I’m flipping the game i’m changing the game I make you go insane
I am looking kind a young but I bet I am the king
I’m Obama my speakers make you go astray
I’m Osama my name makes you feel the pain
because I was born a star
I was raised a star
from 0 to 100 now I own my stuff

Some images from the workshops of writing, staging, and constructing costumes and props. 19 stories and 19 dreams slowly come to life: stories of pilots, engineers, inventors, DJs, superheroes, travelers, acrobats, singers, stylists, poets, and athletes.

Meanwhile, in the production studio of Mega Link Entertainment, also at Kivuli Center, Francesco Medda meets the musicians Charles Kaylech, Hussein Farouk Ali, Idris Abdul Ismail, and Mopel and begins to rehearse the song that will become the soundtrack of the music video Bisu Ndoto…

Titus impegnato a completare la sua storia

Alcuni dei sogni scritti dai ragazzi esposti nel laboratorio di Kivuli Center

Tonny e Stephen AKA Mr Impossible visitano l’ufficio dell’ingegnere Amos e dei suoi assistenti (Alan e Domitila) per coinvolgerlo nella costruzione della navicella spaziale. Messa in scena di alcune storie durante gli workshop a Kivuli Center

Prima fase del laboratorio di costruzione dei costumi

Paul, Shedrak e Titus vestiti da abitanti della Luna

Domitila e Rebecca aiutano Vanessa nei preparativi per le riprese del suo sogno

Fasi di lavorazione del costume di Mr Impossible

La maschera di Mr Impossible disegnata da Shedrak

Francesco Medda nel production studio di Kivuli con Idris, Farouk e Mopel

Idris Abdul Ismail

Hussein Farouk “the tall guy” Ali

Charles “Sober Boy” Kaylech

Mopel “Original Xloader”

During the creation of Bisu Ndoto, Cherimus collaborated with the artistic collective Maasai Mbili (M2), founded in 2001 by Otieno Gomba and Otieno Kota in the Kibera neighborhood, and with
the collective Nyota Arts Group.
Their beautiful project “Superheros of Kibera,” with which children are directly involved in imagining themselves as superheroes to transform their neighborhood, has in fact entered the dream of one of the children that took part in the video clip Bisu Ndoto. Stephan, a.k.a. Mr Impossible, was welcomed into the ranks of the legendary superheroes of Kibera. The video shows us the magic moment of their putting on their costumes, of their transformation into superheroes: sparkling clothes, determined gaze, superpowers ready to explode to fight injustice and to defend the weakest. There are those who, like Squid1, save people during the fires that afflict Kibera; there are also those who, like Wonder Woman, read the truth in the minds of everyone, bringing honesty and peace back to society. The project was created to center the children of the neighborhood, to give space and legitimacy to their voices and power to their imaginations. It represented the precious possibility to be what they want to be, what they dream of, to think big. “We want to show to this kids [sic] that you can be the Batman in your community, you can transform your community,” explains the artist Steve Nyenze of Nyota Arts Group, another collective involved in the project, in an interview. Through drawing, painting, and the many art practices transmitted during the workshops led by the artists of the collective Maasai Mbili and Nyota Arts Group, the children were able to build themselves up as superheroes, not just through a costume, but through trying to make a difference in their lives and those of others.

–

Watch the video realized by Aljazeera

–

What is Maasai Mbili?

Maasai Mbili (M2) (3) was founded in 2001 by Otieno Gomba and Otieno Kota. The pair began by selling novel hand-painted signs along Kibera drive, before acquiring a permanent site in 2003.(4) This became the M2 Art-centre; serving as a studio cum gallery and a juncture for many creatives and artists in the area. The M2 Art-centre was a pioneering visual art space in Kibera; initiating opportunities for participation, collaboration, teaching and socialisation – as well as providing a space to work. Today there are approximately 20 members. (5) Painting is at the heart of M2’s artistic practice – some artists continue sign-writing. However M2 also venture into community outreach projects, conceptual work, fashion, film, mixed media, music, photography and sculpture. The work they create, along with the artists, traverse local, national and global art worlds.(6)
Unsurprisingly, as was the need for such a space, the M2 art-centre attracted many artists – most of whom come from this informal settlement. Consequently, M2 has a continuous and authentic relation with the neighbourhood and its people – remaining the most significant artists’ collective in Kibera (7). Though spend a day at this centre and you will notice another element – its positioning in community life. With doors always open, countless members of the public drop by M2 daily – some discuss problems and seek advice, others socialise, and for some a moments respite is treasured. All however experience the art of M2, in some form or other, and it is evident that this art-centre is a valued cultural space in the community.
However the art-centre is only one story, or perhaps better phrased one location, of this collective. A short walk from their art space you come across their “second studio” – a local bar selling the illicit home-brewed spirit Changaa. It is here where some artists come for “art supplies” (Changaa) which helps to “kufungua Kichwa” (open the head). While there may be a link between artistic inspiration, heightened creativity, and the use of alcohol, this “second studio” is also a rousing social space – stories are told, opinions shared, quarrels settled (though sometimes made) and concepts conceived. It is easy to see how this space becomes a fitting extension to the M2 art-centre. Though there is an additional space which is central to this story – perhaps a ‘third studio’ – where community life is played. This space is Kibera. There is a certain juxtaposition of beauty and ugliness found here. Nevertheless, however one may characterise Kibera, the home of M2, it is certainly never dull or sterile.

From africanah.org

–

SUPERHEROS OF KIBERA

‘Superheroes of Kibera’ is a multidisciplinary art project that works with young people to create their own locally relevant superheroes. The overall aim of the project is to use art as a medium to identify and address issues of public concern, which will heighten awareness or deepen knowledge of social issues, and in doing so create new modes of perception, to tell us who we are, and could be. The project takes place in Kibera, one of Kenya’s largest informal settlements and is coordinated by, and involves artists from, Maasai Mbili and Nyota Arts. This project comes at a time when society is seemingly moving into a culture of pervasive self-interest and self-indulgent passivity, where people regularly tend to be spectators rather than participants, and typically embrace the status quo or easy options rather than attempt to bring about change. Though this is not the characteristic of a superhero. Superheroes are often described as those who pursue justice, defend the defenceless, or help those who cannot help themselves. They show courage, determination, persistence, teamwork, and creativity. They don’t accept defeat. They won’t ever give up. They believe in themselves, and in their cause, and they go all-out to achieve their goals. They don’t do what they do because it’s popular. They do it because it’s right. The image of a superhero, and their moralistic character, regularly present us with something to aspire to in our own lives. But who are the superheroes for young people in Nairobi, and if young people were given an opportunity to create a superhero, then what would it be like? Additionally, what are the challenges, issues, or problems that young people and their communities face which these superheroes will help solve and fight? This project will answer these questions by engaging with young people from Kibera in a series of creative art workshops where they will create superheroes relating to their specific contexts and lives. Their superheroes will be expressed and created through drawings, paintings, costumes, photography and film. Through understanding who, or what, a superhero is; the project will also draw on the heroic acts of those who live and work around us every day. These activities will provide an opportunity for role play, creative expression and experimentation in which young people will not only learn and develop their artistic abilities but also explore notions of right and wrong, civic responsibilities, and – through the concept of a superhero – the kind of person they, and their peers or fellow citizens, can become. As a result this project will shed new light on humankind’s present condition and offer a new sense of direction and resolve as we live our own lives. With the image of the ‘superheroes of Kibera’ in our mind we may find it broadens our mental horizons and supports our moral determination, while also entertaining us.

From the Superheros of Kibera Facebook page

Scorrere la pagina per la versione in italiano

“…nanta ca inguni ddoi essit cosa”

“…there is something that goes out there, they say”

CHERIMUS SUMMER SCHOOL

July 14-24 2018

OPEN CALL
Deadline: June 10 2018

Cherimus is a not-for-profit organization founded in Perdaxius, Sulcis area, southern Sardinia, in November 2007 by a group of artists and professionals from different sectors and disciplines, based in Sardinia and all over the world.

Cherimus’ aim is to contribute to the development of the social and cultural heritage – past and present – of the Sulcis region through art, as a way of reflecting and intervening into its economic, social, political and cultural problems.

Like most marginalized areas of today, Sulcis is torn between the preservation of its heritage and its ongoing incorporation into the global sphere. Yet, the territory does not always seem to be able to actively manage this transition: its local history and identity run the risk of becoming mere ‘anecdotes’ or curiosities for tourists, rather than being consciously integrated into the real existence of communities, so as to create new avenues for culture and communal life.

Cherimus wants to open Sulcis up to inputs and experiences coming from distant places, building a bridge between regions that are geographically remote or apparently incompatible but which may nonetheless experience similar contradictions between their marginality and cultural richness. To this purpose, we have developed throughout the years a number of projects in collaboration with African, Middle Eastern and American institutions.

Cherimus Summer School is an experimental space designed to promote formal and informal discussions and exchanges among artists, researches and cultural managers. It aims to explore different forms of art-making through non-institutional teaching methods and experimental ways of sharing knowledge.

Cherimus Summer School seeks to establish a relation with the local communities’ existing energies, through the encounters we will make on our way and thanks to the guest artists we will collaborate with.

Up to 10 participants from all nationalities will be selected. The Summer School will last 9 days and will take place in Perdaxius and in the Sulcis area.

Every day of the Summer School, the selected artists will take part in the workshops organized by Cherimus’ network of artists. The workshops will give them the opportunity to get into contact with the different elements that coexist in the Sulcis area, such as landscapes, sounds, flavors, customs and traditions, which will be investigated through dynamic classes.

The outcome of the Cherimus Summer School will be defined together with the participants.

RANGE OF ACTIVITIES (the scheduled activities will be defined together with the participants):

– Visit to Pranedda: we will trace its untracked paths! Pranedda faces Perdaxius; it is a ancient mountain where legendary and mysterious events happen. Here you can find an article about the mountain written by Cherimus artists Matteo Rubbi and Santo Tolone: http://www.flashartonline.it/article/matteo-rubbi-santo-tolone/ 

• Music workshops on the ancient melodies of Sulcis; invention of new and old instruments;
• Astrosafari: we will observe the stars and invent tales during an outdoor night potluck;
• Underwater video shooting using props made out of natural elements collected in the area;
  
• Watching pink flamingos on the beach;
  
• Exploration of the old Sulcis-Iglesiente mines;
• Walks to different Nuragic archeological sites;
  
• Cooking workshops with the local population from Perdaxius, focused on traditional Sulcis recipes;
• Preparation of Cocoi, the porcupine bread with an astonishing shape;

ARTISTS AND STAFF CHERIMUS SUMMER SCHOOL:

• Fiammetta Caime: She deals with coordination, administrative management and logistics of Cherimus’ projects. She lives and works in Milan. She is fond of art and people.
• Derek MF Di Fabio: visual artist. His works are part of experiences that can be re-lived through shared memory and they can no longer be circumscribed as a who/how/where. With Isa Griese they perform as 2008daughters inquiring into the production of goods. He is part of Cherimus since 2010.
  
• Matteo Rubbi: visual artist, co-founder of Cherimus with Marco Colombaioni and Emiliana Sabiu. In his works he invites the viewers to read the context in which they live and their role in society.
  
• Emi Sabiu: she cofounded Cherimus in 2007, with Matteo Rubbi and Marco Colombaioni; she invents projects linked with art and people. She is from Perdaxius, where she lives and works most of the times.
• Carlo Spiga: visual artist and musician, under the moniker of Makika. He’s part of Cherimus since 2010. He lives and work in Cagliari.

LOCATION : Perdaxius is located ~70 Km from Cagliari. The nearest train station is Carbonia which is reachable by train from Cagliari airport and Cagliari city centre.

Accommodation Info : A flat with three separate bedrooms, shared kitchen, living room and garden.

Technical Info : Basic working power tools and multimedia devices (printer, video-projector, audio and video recording devices).

COST : EUR 500.00
The fee includes:
Accommodation in double/quadruple fully equipped bedrooms

• Farm to Table Breakfast
• Workshops and seminars
• Excursions
• On-site support

Not included:

• Travel costs
• Lunch and dinner

This is the first Summer School organized by Cherimus and it doesn’t receive any external funding.
We can provide a formal letter or invitation to enable the artist to search for funding and cover the costs.

APPLICATION PROCESS

• Language : English, Italian, French
  
• We are looking for a heterogenous group of artists from different backgrounds and working on different media;
• Art-collectives are welcome;
• Applications may be submitted via video or audio, to support those with dyslexia, rather than in written form.

To apply, please provide:

• a statement describing why you are interested in the Cherimus Summer School (max 500 words)
• a portfolio and/or links to your works
• a brief biographical note and information relating to your personal circumstances, if applicable (max 500 words)

Please send 1 PDF file compiling all the application materials to cherimus@gmail.com with the subject: Cherimus SUMMER SCHOOL
Attachment should not exceed 24 MB.
Video and sound files should be uploaded online. Please, include links and passwords, if necessary, in the PDF.

APPLICATION DEADLINE : June 10, 2018
The participants will be notified about the outcome of the selection process via email by 18th June.

The deadline for the payment of fees will be 25th June.

A minimum of 6 participants will be required to activate the Summer School.

For more informations contact us:
cherimus@gmail.com
Emi Sabiu +393486299861

“… nanta ca inguni ddoi essit cosa”

“… dicono che lì c’è qualcosa”

“… nanta ca inguni ddoi essit cosa”

“… dicono che lì c’è qualcosa”

CHERIMUS SUMMER SCHOOL

14-24 luglio 2018

Open Call
Deadline: 03 giugno 2018

Cherimus è una associazione no-profit fondata a Perdaxius, nel Sulcis (sud-ovest Sardegna), nel novembre del 2007, da un gruppo di artisti e professionisti di vari settori e discipline, provenienti dalla Sardegna e dal resto del mondo.

Cherimus partecipa attraverso l’arte contemporanea allo sviluppo del patrimonio sociale e culturale – passato e presente – del Sulcis Iglesiente, considerando l’arte come riflessione e intervento sulle questioni economiche, politiche e culturali del Sulcis.

Come ogni “periferia”, il Sulcis, oggi, è diviso fra la conservazione della sua eredità e la spinta verso l’inserimento nella sfera globale. Tuttavia la transizione rischia di essere solo subita: la storia e l’identità territoriale rischiano di trasformarsi in aneddoto o semplice curiosità turistica, piuttosto che essere consapevolmente integrate dalle comunità locali per creare nuovi spazi culturali e di vita comune.

Cherimus cerca di aprire il Sulcis a esperienze e idee provenienti da paesi lontani costruendo un ponte tra realtà geograficamente distanti o apparentemente incompatibili, che tuttavia spesso condividono lo stesso squilibrio fra ricchezza e marginalità culturale.

A questo scopo, abbiamo sviluppato negli anni numerosi progetti in collaborazione con istituzioni di Africa, Medio Oriente e America.

Cherimus Summer School è uno spazio sperimentale pensato per stimolare una discussione formale e informale tra artisti, ricercatori e cultural manager, che esplora le diverse discipline dell’arte attraverso un metodo di insegnamento non istituzionale.
Cherimus Summer School si relaziona alle energie e tensioni presenti nella società, attraverso gli incontri che hanno luogo nel corso della residenza e grazie agli artisti che terranno I laboratori.

Saranno selezionati fino a un massimo di 10 partecipanti provenienti da tutte le nazionalità. Cherimus Summer School avrà una durata di 9 giorni e si svolgerà a Perdaxius e in tutto il Sulcis.
Durante la Cherimus Summer School i laboratori saranno organizzati quotidianamente. I laboratori offriranno la possibilità di entrare in contatto attivo con diversi aspetti del territorio del Sulcis: il paesaggio, i suoni, i sapori, i costumi e i gesti.

È prevista una restituzione la cui forma finale verrà definita durante i laboratori.

Esempi di attività previste (il programma verrà definito insieme ai partecipanti):

• Astrosafari: workshop notturno all’aperto in cui osservare le stelle e inventare storie;
  
• Escursioni attraverso siti archeologici nuragici, luoghi preistorici che segnano ancora oggi il paesaggio del Sulcis;
  
• Laboratorio di cucina tenuto da Perdaxini sulle ricette tradizionali sulcitane;
  
• Laboratorio musicale sulle antiche melodie del Sulcis, provenienti da un passato remoto; creazione di nuovi e antichi
• strumenti musicali;
  
• Workshop sulla preparazione del Cocoi, il pane-porcospino dalla forma sorprendente;
  
• Walking workshop: esplorazione delle miniere e degli antichi sentieri;
  
• Workshop di video subacquei: riprese sottomarine con oggetti di scena costruiti con materiali recuperati in loco.
  
• Osservazione dei fenicotteri rosa sulla spiaggia.

Artisti e staff della Cherimus Summer School:

• Fiammetta Caime: Si occupa di coordinamento, gestione amministrativa e logistica dei progetti di Cherimus. Vive e lavora a Milano. Ama l’arte e le persone.
• Derek MF Di Fabio, artista visivo. I suoi lavori fanno parte di esperienze che possono essere rivissute attraverso la memoria condivisa, così non possono essere più circoscritti in un chi/come/dove. Assieme a Isa Griese, è 2008daughters, nelle cui performance si producono beni di prima necessità. È parte di Cherimus dal 2010.
  
• Matteo Rubbi: artista visivo, co-fondatore di Cherimus con Marco Colombaioni ed Emiliana Sabiu. Nel suo lavoro, invita lo spettatore a leggere il contesto in cui vive e il ruolo che ricopre nella società.
  
• Emi Sabiu: ha co-fondato Cherimus nel 2007 con Matteo Rubbi e Marco Colombaioni. Ama inventare progetti che riguardano l’arte e le persone. Perdaxius è il suo paese.
• Carlo Spiga: artista visivo e musicista, con il nome di Makika. È parte di Cherimus dal 2010. Vive e lavora a Cagliari.

Location
Perdaxius si trova a circa 70 Km da Cagliari. La stazione ferroviaria più vicina è quella di Carbonia, raggiungibile in treno dall’aeroporto e dalla città di Cagliari.

Alloggio
Appartamento con tre camere da letto separate, cucina in comune, soggiorno e giardino.

Informazioni tecniche
Strumenti di lavoro di base e dispositivi multimediali (stampante, videoproiettore, dispositivi di registrazione audio e video).

Costo : 500.00 EURO

La quota comprende:

• Sistemazione in camere doppie / quadruple completamente attrezzate
• Colazione a chilometro zero
• Laboratori e seminari
• Escursioni
• Supporto in loco

La quota non comprende:

• Spese di viaggio 
• Pranzi e cene

Questa è la prima Summer School organizzata da Cherimus e non riceve alcun finanziamento esterno. Possiamo fornire una lettera di invito formale per consentire all’artista di chiedere finanziamenti e coprire i costi.

Modalità di partecipazione

• Lingue: italiano, inglese, francese;
  
• Stiamo cercando un gruppo eterogeneo di artisti provenienti da diversi background, esperienze e pratiche.
• I collettivi di artisti sono benvenuti.
• Le richieste di partecipazione possono essere presentate in forma video o audio, anziché per iscritto, per supportare chi affetto da dislessia.

Per partecipare, si prega di fornire:

• Uno statement che spiega perché si è interessati alla Cherimus Summer School (max 500 parole);
• Portfolio o Curriculum Vitae e/o link alle opere;
• Una breve nota biografica che includa eventuali informazioni personali, se necessario (max 500 parole).

Si prega di inviare un file in formato PDF che raccolga tutti i materiali suddetti all’indirizzo cherimus@gmail.com con oggetto: Cherimus SUMMER SCHOOL.

L’allegato non dovrà superare i 24 MB.

I file audio e video devono essere caricati online. Si prega di includere link ed eventuali password nel PDF

Application deadline

03/06/2018

I partecipanti selezionati riceveranno comunicazione diretta via email entro il 18 giugno.

I partecipanti dovranno versare la quota di partecipazione entro il 25 giugno.

La Summer School sarà attivata a partire da un minimo di 6 partecipanti.

Per maggiori informazioni contattaci:

cherimus@gmail.com

Emi Sabiu: +3486299861

Scorrere la pagina per la versione in italiano

“…nanta ca inguni ddoi essit cosa”

“…there is something that goes out there, they say”

CHERIMUS SUMMER SCHOOL

July 14-24 2018

OPEN CALL
Deadline: June 10 2018

Cherimus is a not-for-profit organization founded in Perdaxius, Sulcis area, southern Sardinia, in November 2007 by a group of artists and professionals from different sectors and disciplines, based in Sardinia and all over the world.

Cherimus’ aim is to contribute to the development of the social and cultural heritage – past and present – of the Sulcis region through art, as a way of reflecting and intervening into its economic, social, political and cultural problems.

Like most marginalized areas of today, Sulcis is torn between the preservation of its heritage and its ongoing incorporation into the global sphere. Yet, the territory does not always seem to be able to actively manage this transition: its local history and identity run the risk of becoming mere ‘anecdotes’ or curiosities for tourists, rather than being consciously integrated into the real existence of communities, so as to create new avenues for culture and communal life.

Cherimus wants to open Sulcis up to inputs and experiences coming from distant places, building a bridge between regions that are geographically remote or apparently incompatible but which may nonetheless experience similar contradictions between their marginality and cultural richness. To this purpose, we have developed throughout the years a number of projects in collaboration with African, Middle Eastern and American institutions.

Cherimus Summer School is an experimental space designed to promote formal and informal discussions and exchanges among artists, researches and cultural managers. It aims to explore different forms of art-making through non-institutional teaching methods and experimental ways of sharing knowledge.

Cherimus Summer School seeks to establish a relation with the local communities’ existing energies, through the encounters we will make on our way and thanks to the guest artists we will collaborate with.

Up to 10 participants from all nationalities will be selected. The Summer School will last 9 days and will take place in Perdaxius and in the Sulcis area.

Every day of the Summer School, the selected artists will take part in the workshops organized by Cherimus’ network of artists. The workshops will give them the opportunity to get into contact with the different elements that coexist in the Sulcis area, such as landscapes, sounds, flavors, customs and traditions, which will be investigated through dynamic classes.

The outcome of the Cherimus Summer School will be defined together with the participants.

RANGE OF ACTIVITIES (the scheduled activities will be defined together with the participants):

– Visit to Pranedda: we will trace its untracked paths! Pranedda faces Perdaxius; it is a ancient mountain where legendary and mysterious events happen. Here you can find an article about the mountain written by Cherimus artists Matteo Rubbi and Santo Tolone: http://www.flashartonline.it/article/matteo-rubbi-santo-tolone/ 

• Music workshops on the ancient melodies of Sulcis; invention of new and old instruments;
• Astrosafari: we will observe the stars and invent tales during an outdoor night potluck;
• Underwater video shooting using props made out of natural elements collected in the area;
  
• Watching pink flamingos on the beach;
  
• Exploration of the old Sulcis-Iglesiente mines;
• Walks to different Nuragic archeological sites;
  
• Cooking workshops with the local population from Perdaxius, focused on traditional Sulcis recipes;
• Preparation of Cocoi, the porcupine bread with an astonishing shape;

ARTISTS AND STAFF CHERIMUS SUMMER SCHOOL:

• Fiammetta Caime: She deals with coordination, administrative management and logistics of Cherimus’ projects. She lives and works in Milan. She is fond of art and people.
• Derek MF Di Fabio: visual artist. His works are part of experiences that can be re-lived through shared memory and they can no longer be circumscribed as a who/how/where. With Isa Griese they perform as 2008daughters inquiring into the production of goods. He is part of Cherimus since 2010.
  
• Matteo Rubbi: visual artist, co-founder of Cherimus with Marco Colombaioni and Emiliana Sabiu. In his works he invites the viewers to read the context in which they live and their role in society.
  
• Emi Sabiu: she cofounded Cherimus in 2007, with Matteo Rubbi and Marco Colombaioni; she invents projects linked with art and people. She is from Perdaxius, where she lives and works most of the times.
• Carlo Spiga: visual artist and musician, under the moniker of Makika. He’s part of Cherimus since 2010. He lives and work in Cagliari.

LOCATION : Perdaxius is located ~70 Km from Cagliari. The nearest train station is Carbonia which is reachable by train from Cagliari airport and Cagliari city centre.

Accommodation Info : A flat with three separate bedrooms, shared kitchen, living room and garden.

Technical Info : Basic working power tools and multimedia devices (printer, video-projector, audio and video recording devices).

COST : EUR 500.00
The fee includes:
Accommodation in double/quadruple fully equipped bedrooms

• Farm to Table Breakfast
• Workshops and seminars
• Excursions
• On-site support

Not included:

• Travel costs
• Lunch and dinner

This is the first Summer School organized by Cherimus and it doesn’t receive any external funding.
We can provide a formal letter or invitation to enable the artist to search for funding and cover the costs.

APPLICATION PROCESS

• Language : English, Italian, French
  
• We are looking for a heterogenous group of artists from different backgrounds and working on different media;
• Art-collectives are welcome;
• Applications may be submitted via video or audio, to support those with dyslexia, rather than in written form.

To apply, please provide:

• a statement describing why you are interested in the Cherimus Summer School (max 500 words)
• a portfolio and/or links to your works
• a brief biographical note and information relating to your personal circumstances, if applicable (max 500 words)

Please send 1 PDF file compiling all the application materials to cherimus@gmail.com with the subject: Cherimus SUMMER SCHOOL
Attachment should not exceed 24 MB.
Video and sound files should be uploaded online. Please, include links and passwords, if necessary, in the PDF.

APPLICATION DEADLINE : June 10, 2018
The participants will be notified about the outcome of the selection process via email by 18th June.

The deadline for the payment of fees will be 25th June.

A minimum of 6 participants will be required to activate the Summer School.

For more informations contact us:
cherimus@gmail.com
Emi Sabiu +393486299861

“… nanta ca inguni ddoi essit cosa”

“… dicono che lì c’è qualcosa”

“… nanta ca inguni ddoi essit cosa”

“… dicono che lì c’è qualcosa”

CHERIMUS SUMMER SCHOOL

14-24 luglio 2018

Open Call
Deadline: 03 giugno 2018

Cherimus è una associazione no-profit fondata a Perdaxius, nel Sulcis (sud-ovest Sardegna), nel novembre del 2007, da un gruppo di artisti e professionisti di vari settori e discipline, provenienti dalla Sardegna e dal resto del mondo.

Cherimus partecipa attraverso l’arte contemporanea allo sviluppo del patrimonio sociale e culturale – passato e presente – del Sulcis Iglesiente, considerando l’arte come riflessione e intervento sulle questioni economiche, politiche e culturali del Sulcis.

Come ogni “periferia”, il Sulcis, oggi, è diviso fra la conservazione della sua eredità e la spinta verso l’inserimento nella sfera globale. Tuttavia la transizione rischia di essere solo subita: la storia e l’identità territoriale rischiano di trasformarsi in aneddoto o semplice curiosità turistica, piuttosto che essere consapevolmente integrate dalle comunità locali per creare nuovi spazi culturali e di vita comune.

Cherimus cerca di aprire il Sulcis a esperienze e idee provenienti da paesi lontani costruendo un ponte tra realtà geograficamente distanti o apparentemente incompatibili, che tuttavia spesso condividono lo stesso squilibrio fra ricchezza e marginalità culturale.

A questo scopo, abbiamo sviluppato negli anni numerosi progetti in collaborazione con istituzioni di Africa, Medio Oriente e America.

Cherimus Summer School è uno spazio sperimentale pensato per stimolare una discussione formale e informale tra artisti, ricercatori e cultural manager, che esplora le diverse discipline dell’arte attraverso un metodo di insegnamento non istituzionale.
Cherimus Summer School si relaziona alle energie e tensioni presenti nella società, attraverso gli incontri che hanno luogo nel corso della residenza e grazie agli artisti che terranno I laboratori.

Saranno selezionati fino a un massimo di 10 partecipanti provenienti da tutte le nazionalità. Cherimus Summer School avrà una durata di 9 giorni e si svolgerà a Perdaxius e in tutto il Sulcis.
Durante la Cherimus Summer School i laboratori saranno organizzati quotidianamente. I laboratori offriranno la possibilità di entrare in contatto attivo con diversi aspetti del territorio del Sulcis: il paesaggio, i suoni, i sapori, i costumi e i gesti.

È prevista una restituzione la cui forma finale verrà definita durante i laboratori.

Esempi di attività previste (il programma verrà definito insieme ai partecipanti):

• Astrosafari: workshop notturno all’aperto in cui osservare le stelle e inventare storie;
  
• Escursioni attraverso siti archeologici nuragici, luoghi preistorici che segnano ancora oggi il paesaggio del Sulcis;
  
• Laboratorio di cucina tenuto da Perdaxini sulle ricette tradizionali sulcitane;
  
• Laboratorio musicale sulle antiche melodie del Sulcis, provenienti da un passato remoto; creazione di nuovi e antichi
• strumenti musicali;
  
• Workshop sulla preparazione del Cocoi, il pane-porcospino dalla forma sorprendente;
  
• Walking workshop: esplorazione delle miniere e degli antichi sentieri;
  
• Workshop di video subacquei: riprese sottomarine con oggetti di scena costruiti con materiali recuperati in loco.
  
• Osservazione dei fenicotteri rosa sulla spiaggia.

Artisti e staff della Cherimus Summer School:

• Fiammetta Caime: Si occupa di coordinamento, gestione amministrativa e logistica dei progetti di Cherimus. Vive e lavora a Milano. Ama l’arte e le persone.
• Derek MF Di Fabio, artista visivo. I suoi lavori fanno parte di esperienze che possono essere rivissute attraverso la memoria condivisa, così non possono essere più circoscritti in un chi/come/dove. Assieme a Isa Griese, è 2008daughters, nelle cui performance si producono beni di prima necessità. È parte di Cherimus dal 2010.
  
• Matteo Rubbi: artista visivo, co-fondatore di Cherimus con Marco Colombaioni ed Emiliana Sabiu. Nel suo lavoro, invita lo spettatore a leggere il contesto in cui vive e il ruolo che ricopre nella società.
  
• Emi Sabiu: ha co-fondato Cherimus nel 2007 con Matteo Rubbi e Marco Colombaioni. Ama inventare progetti che riguardano l’arte e le persone. Perdaxius è il suo paese.
• Carlo Spiga: artista visivo e musicista, con il nome di Makika. È parte di Cherimus dal 2010. Vive e lavora a Cagliari.

Location
Perdaxius si trova a circa 70 Km da Cagliari. La stazione ferroviaria più vicina è quella di Carbonia, raggiungibile in treno dall’aeroporto e dalla città di Cagliari.

Alloggio
Appartamento con tre camere da letto separate, cucina in comune, soggiorno e giardino.

Informazioni tecniche
Strumenti di lavoro di base e dispositivi multimediali (stampante, videoproiettore, dispositivi di registrazione audio e video).

Costo : 500.00 EURO

La quota comprende:

• Sistemazione in camere doppie / quadruple completamente attrezzate
• Colazione a chilometro zero
• Laboratori e seminari
• Escursioni
• Supporto in loco

La quota non comprende:

• Spese di viaggio 
• Pranzi e cene

Questa è la prima Summer School organizzata da Cherimus e non riceve alcun finanziamento esterno. Possiamo fornire una lettera di invito formale per consentire all’artista di chiedere finanziamenti e coprire i costi.

Modalità di partecipazione

• Lingue: italiano, inglese, francese;
  
• Stiamo cercando un gruppo eterogeneo di artisti provenienti da diversi background, esperienze e pratiche.
• I collettivi di artisti sono benvenuti.
• Le richieste di partecipazione possono essere presentate in forma video o audio, anziché per iscritto, per supportare chi affetto da dislessia.

Per partecipare, si prega di fornire:

• Uno statement che spiega perché si è interessati alla Cherimus Summer School (max 500 parole);
• Portfolio o Curriculum Vitae e/o link alle opere;
• Una breve nota biografica che includa eventuali informazioni personali, se necessario (max 500 parole).

Si prega di inviare un file in formato PDF che raccolga tutti i materiali suddetti all’indirizzo cherimus@gmail.com con oggetto: Cherimus SUMMER SCHOOL.

L’allegato non dovrà superare i 24 MB.

I file audio e video devono essere caricati online. Si prega di includere link ed eventuali password nel PDF

Application deadline

03/06/2018

I partecipanti selezionati riceveranno comunicazione diretta via email entro il 18 giugno.

I partecipanti dovranno versare la quota di partecipazione entro il 25 giugno.

La Summer School sarà attivata a partire da un minimo di 6 partecipanti.

Per maggiori informazioni contattaci:

cherimus@gmail.com

Emi Sabiu: +3486299861

Dragos Olea of Apparatus 22 arrived in Sulcis on November 11th; it was his first time in Sardinia and his first collaboration with Cherimus. He spent two weeks with us, leading eight workshops in Villamassargia, Domusnovas, Musei, and Iglesias and presenting his work to the public at Villamassargia: two intense weeks to officially launch the project “The Possible Gardens.”
The first week was dedicated to getting to know the children and the parks, to understanding the wishes and the dreams of the kids through their words and their drawings. Dragos also shared the work of Apparatus 22, focusing on public projects carried out across Europe.

The first meeting with each class consisted of a visit to the garden made available for the project. In Villamassargia, it’s a former cemetery; decommissioned for years, it still retains traces of the avenue that cut it in two, lined by cypress and palms. The children have reconquered the space and have imagined castles and flags, crazily-outlined playing fields, houses of flowers, burrows where one can look for shamrocks and collect lucky symbols. Dragos is very curious and asks many questions to the children, visiting them in their favorite little corner, where they’re already very much at home.

The garden of Domusnovas has at its center a large tree with open arms, a carob tree within which the children gathered as in a magic flask. Someone has imagined the carob tree at the center of an intricate labyrinth, a place in which to play and get lost and find each other again. On the tree in the center there is also a house in which musical instruments are collected. In Musei, the smallest village, the class is made up of ten students, in reality two classes in one: one fourth and one fifth grade class. The village was rapidly depopulated, the teacher tells us, after the closure of the Portovesme industrial plant. The garden is a narrow tongue of green between two streets; it is difficult to imagine a park in it. But the children composed it naturally, extending the limits of that little handkerchief of a park, envisioning in it an open-air dance school; a rich orchard to take care of and from which to collect fresh fruit; a track that goes up and down where one can ride horses and motorcycles; a bush where one can bring their own favorite animals, hens, dogs and cats; and finally, a thread suspended between the trees for attaching drawings for an annual festival. Dragos wrote all this in his notebook, thought to himself and smiled.

Working in Iglesias immediately after Musei is strange: we felt as though we were passing from a remote rural village to the core of a gigantic metropolis. Its park is the largest of the four and has two floors: a high hill, dense with trees, from which a little triangle of sea and the mining town and hills of Monteponi can be seen between the houses. Rolling down the steep descent to the foot of the hill, one finds oneself on a flat meadow where it is lovely to run free. In fact, the children did run, up and down, and one even rolled down the hill and thought that such a thing must absolutely be included in the park, that the grassy slopes must be preserved.

In the woods, someone imagined a magical dwelling for inventing spells, another a planetarium where the motion of the stars is determined from the flight of owls, and yet another proposed monuments dedicated to Hypatia and Frida Kahlo. Dragos followed the children and tried to imagine what lay beyond the houses, beyond the hills, out there where a child would want to be able to see from the top of a tree.
The following week, at school, everything became solid and spectacular. The children collected paper, fabrics, and all kinds of gaudy materials to shape their ideas and make models of them. Many things have changed since the first meeting: the children have worked in groups to combine the ideas and forces that provoked by Dragos’s presence. On Dragos’s part, he has studied their ideas and proposed many possible ways of developing them. In Villamassargia, the den has become a mini pinnetta, a typical Sardinian stone building. The playing field now has a jagged perimeter that recalls the old maps of Sardinia, and here and there doors and passages arise from the grass, every element linked by rules of the game yet to be written. In Domusnovas, labyrinths in the form of mice are imagined, as well as astronomical observatories and theatrical stages, all around the carob tree. In Musei, barres for dancing, axes of balance, a track for horses and motorcycles, and a thread to attach drawings became a single line going up and down across the orchards and grass. In Iglesias, the animals multiply: octopuses, owls, turtles, dragons, and panda-corns. The observation point becomes an elastic rainbow carpet, even equipped with an elevator…

At the end of the workshops there was time left to visit the MAN of Nuoro and, on our way back, the well of Santa Cristina. We greeted Dragos immediately after visiting the flea market in Cagliari, a beautiful sunny morning at the end of November. The adventure of “The Possible Gardens” has really begun!