Rene Gabri about TRIPOLITALIANS. PDF Stampa E-mail

Rene Gabri writes about TRIPOLITALIANS:


"How to confront madness? How to confront the madness in our lives? How to confront the madness which surrounds our societies? Is art a form of madness or is it the clinic in which that madness is welcomed rather than endured or simply tolerated?

Art has endured, for centuries, a precarious relationship to madness, but a misunderstood one, often being mistaken as a form of madness itself or the productions of mad people. For the philosophers Gilles Deleuze and Félix Guattari, in the two volumes on Capitalism and Schizophrenia (Anti-Oedipus, A Thousand Plateaus), they develop and nurture along the concept of schizoanalysis. Of course, because of Guattari's background as an analyst and student of Lacan, also his associations loosely with the anti-psychiatry movements in Europe and the clinic La Borde; there developed a more 'orthodox' practice of schizoanalysis as a work. But this interests me less so, than the abundant examples in their writings, which are mostly literary and artistic ones. Why? Because art is potentially and poetically the site of the most broad, most malleable, and most creative space to welcome, confront, care for, and survive madness.

The histories of colonialism and their intertwining with lives, families, tribes; histories of war and treachery, acts of state, acts of individuals, occupations, exodus, all adding up to the complex present we live today. To open up a clinic, in one's work, in one's life and to welcome this madness is what Martina Melilli has proposed. I find this gesture a rich, but dangerous one. Can she withstand the forces of nostalgia? Can she withstand the forces of oblivion which have fought so hard to erase this dark chapter of Italian colonial history? Can she find, from the traces of artistic processes and projects the clues for how to overcome the traps of this type of neither subjective nor objective inquiry into the recent past? And can she find something redemptive in these histories without redeeming these histories themselves. Histories which would attempt to recall only the good while remaining largely oblivious to the violence they rested on and produced. Histories (of colonialism) which more broadly produced some of the bloodiest chapters of human history and still today mark the great inequalities between North and South and West and East. I am impressed by the intensity and depth of this research. It is a beginning and notes for an artistic work to come. And what impresses me most about it is that the work is truly becoming a space to confront oneself, one's life, one's family, one's history, one's country, one's world, all collapsed and told through a very particular place. I believe that if she has the intensity to follow through on this research and produce a video work with it, it will be a valuable addition to her own process of discovering a voice as an artist, but more importantly to give voice to histories which have, til now, remained largely unspoken, un-narrated, with the complexity and richness they deserve."

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