{"data":{"archives":[{"title":"forget_me_not","audio":{"id":"32df3592-c0fa-4ab0-a8cb-2cb4b881f788"},"curatorial_text":[{"text":"To remember, one must forget"},{"text":"We focus all too often on the act of remembering"},{"text":"and overlook the fact that something was lost in the first place."},{"text":"Every day, much is lost: unnoticed, ungrieved."},{"text":"We forget our losses unless they become undeniably overt, like a death or a mental illness."},{"text":"Forget_me_not aims to acknowledge and to homage all that is lost and forgotten,"},{"text":"accidentally or forcefully,"},{"text":"in a digital space of appreciation and reflection."},{"text":"The materials you are invited to explore"},{"text":"are organized in a number of concentric circles"},{"text":"that start from the body and the self-experience of loss,"},{"text":"and then move beyond, addressing the theme to the communities we live in,"},{"text":"to society, out to the virtual space"},{"text":"and our relationship with technology and the future."},{"text":"Welcome to forget_me_not"}],"about":"

depositary.art is a space
depositary.art is an invitation
depositary.art is an experiment

Like a kaleidoscope of unordered materials, stimuli, and shared observations, the platform opens up to the visitor to freely create loose associations, new links and definitions between various disciplines. As with any repository, depositary.art is an archive that will grow over time. The aim is to become an alternative collaborative platform owned and hosted by a cultural institution in order to foster a visual investigation of the themes and discourses to be addressed over time. This is an attempt to break away from the formulas already known or elaborated on by the tech giants. The project stems from an idea that arose from the Museion Art Club at MUSEION Museum of Modern and Contemporary Art in Bolzano, Italy. It was brought into being through a digital residency project that hosted Studio Moniker for the development and implementation of the digital platform and was supported generously by Museion.

The first depot depositary.art/forget-me-not is curated by Frida Carazzato, Giulia Cordin, Brita Koehler, Flavio Pintarelli and Michael Scerbo on the theme of memory, viewed here in its multiple dimensions: intimate, medical, social, collective, technological, and futuristic. All these scenarios intertwine in a visual dialogue of evocations and possible beginnings. Each visitor is free to construct their own narrative thread, freely tracing and exploring their own thoughts and connections.

The curators of the forget-me-not depot would like to thank all the artists and theorists who contributed to the creation of this depot, the employees of the St. Vincent Social Cooperative in Bolzano and the artist Canedicoda for the sound piece that accompanies the visitors along this journey.

Credits
Design: Moniker (Luna Maurer, Roel Wouters, Thomas Boland)
Sound: Non ora Canedicoda
Concept: Museion Art Club (Frida Carazzato, Giulia Cordin, Brita Koehler, Flavio Pintarelli, and Michael Scerbo)

Leave a comment so we can better future experiences

","items":[{"id":"17","title":"Flavio Pintarelli, Allegoria dei doni di internet (1/9), 2023","description":"

Quest'immagine fa parte di un ciclo allegorico intitolato \"Allegorie della memoria digitale\". Le immagini e i testi che compongono il ciclo raccontano l'evoluzione del nostro rapporto con le tecnologie digitali, rappresentate come memoria infinita. Sono state realizzate in stile vaporwave usando Midjourney, un'intelligenza artificiale text-to-image. Il grado di precisione dei prompt, i comandi testuali necessari all'intelligenza artificiale per creare le immagini, è stato mantenuto volutamente basso per sfruttare la capacità divinatoria del software. Il risultato finale è equamente dovuto alla volontà dell'autore e alle capacità generative dell'intelligenza artificiale, al punto da non poter determinare con chiarezza dove finisce la prima e dove inizia la seconda, e viceversa.

L'intero ciclo è visibile su: flaviopintarelli.it

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“Ich muss dafür sorgen, dass die Leute so lange wie möglich selbstständig bleiben. Ich bin für das körperliche Wohlbefinden zuständig. Das ist ja mein Beruf.
Es ist eine schöne Arbeit. Psyche und Physis kommen da ganz nah aneinander. Denn es geht um das gesamte Wohlbefinden und nicht nur um das physische Wohlbefinden.
Ich gehe immer zu den Menschen hin. Wir wissen ja nicht, was in deren Köpfen vorgeht.
Ich spreche nicht in Kleinkindsprache mit ihnen. Ich versuche, ihnen Sachen ganz normal zu erklären, wie einem normalen erwachsenen Menschen. Sie haben ihr Leben hinter sich und extrem viel geleistet in ihrem Leben. Deswegen behandle ich sie immer mit Respekt. Wenn sie etwas nicht verstanden haben, dann erkläre ich es nochmal. Wenn mir ein dementer Mensch sagt, er will etwas nicht machen, oder wird ein bisschen aggressiv oder laut, dann ist das in Ordnung. Das muss man respektieren. Auch wenn sie etwas durcheinanderbringen, bin ich interessiert und höre ihnen einfach zu. Und belächle sie sicher nicht. Natürlich muss man gewisse Dinge im Alter mit Humor nehmen, auch in meinem Job. Respekt und Würde stehen für mich ganz im Vordergrund.
In der Presse und in den Medien wird so viel von körperlicher Fitness gesprochen. Vitamine, Turnen, Bewegung und Herz, körperliche Fitness wird extrem promotet. Für mich ist die geistige Fitness extrem wichtig. Zum Beispiel das frühzeitige Lesen, und zwar zusammenhängender Romane und nicht nur eines Zeitungsartikels, ist ganz wichtig für das geistige Training.
Die Erinnerung ist das einzige, was einem am Ende vom Leben bleibt. Und deswegen versuchen wir ja in unserer Wohlstandswelt viel zu reisen, viel zu erleben, unser Geld in irgendein Erlebnis zu investieren, als irgendwas Materielles zu besorgen. Aber wenn dann das, was man erlebt hat, total verschwindet, ist das traurig. Aber man kann sich das ja nicht aussuchen.”

Der Text ist der Auszug aus einem Interview, das im Januar 2023 mit einigen Angestellten der Sozialgenossenschaft zum Hl. Vinzenz in Bozen aufgezeichnet wurde.
Die Vinzenz-Gemeinschaft ist ein langjähriger Partner des MUSEION-Publikumsformats Alzheimer Circle, der die Bewohner*innen des Heims und ihre Betreuer*innen regelmäßig in die Welt der Kunst begleitet.

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“Morgens ist es unsere Haupttätigkeit, die Leute, also die Heimbewohner, auf primär körperlicher Ebene zu versorgen, aber auch mit den psychischen Belangen. Das fängt an bei der Körperpflege, mit dem Abwaschen, der Intimpflege, den regulären Tätigkeiten, die jeder Mensch morgens durchführt. Also Haare kämmen, Zähneputzen, alles, was zur Körperpflege dazugehört, und dann eben auch den psychischen Beistand dazu leisten.
Es berührt mich, dass die betroffenen Personen oftmals vergessen, wie man einen Kamm benutzt, wie man einen Föhn benutzt, wie man einen Rasierapparat benutzt. Das wird dann alles komplett verwechselt. Es ist schon vorgekommen, dass sich Leute mit einem Rasierapparat kämmen wollten, oder sich mit einem Kamm die Zähne putzen. Am berührendsten ist es, wenn die Personen dann in dieser Situation selbst mitbekommen, dass irgendetwas falsch ist, also dass sie selbst auch manchmal mitbekommen, dass jetzt irgendwas nicht stimmt.
Und dabei kann ich dann eine große Stütze sein, indem ich mit Empathie und viel Verständnis den Personen erkläre, wie der Gegenstand wirklich zu verwenden ist, und das dann als normal betrachte, was eben geschehen ist, dass sie sich jetzt nicht irgendwie in eine Ecke gedrängt fühlen oder sich benachteiligt fühlen in diesem Moment.
Erinnerung ist für mich ein Lichtblick im Großen und Ganzen. Aus positiven Erinnerungen kann man so viel Kraft schöpfen. Und vor allem bei Heimbewohnern, die unter Demenz leiden, ist ja das Langzeitgedächtnis meistens noch relativ intakt. Dann können viele schöne Erinnerungen und Gefühle aus den Kindheits- und Jugendtagen, aber auch aus dem früheren Leben, immer noch positive Nachwirkungen haben. Man muss nur irgendwie aus der Biografie der betroffenen Person herausfinden, wo man eingreifen kann als Pflegepersonal, und das dann als große Ressource verwenden, damit sie sich im Großen und Ganzen über den Tag verteilt gut fühlen können. Man muss dann darauf auch eingehen.”

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“Ich sage immer, dass ich die schönste Arbeit hier im Haus habe. Ich kann ganz nah bei den Bewohnern sein, aber bei mir müssen sie nicht sein. Wir können uns nach ihnen richten.
Wir sind in den Zimmern. Viele sind dann wach. Wenn wir hineingehen, dann kommen sie schon und warten diese Viertelstunde, wenn wir drinnen sind, auf ein Gespräch. Ich persönlich versuche mir immer viel Zeit zu nehmen, hole das irgendwo wieder rein.
Positive Sachen gibt es eigentlich täglich, und auch schmunzelnde. Vor zwei Tagen hat eine Frau gesagt: „Ach, Frau Evi, ich lebe noch, aber mein Gehirn ist schon gestorben.“ Ich lasse das so stehen. Das sind solche Aussagen. Ganz schlimm sind für mich Situationen, wo Demente oder Alzheimer-Kranke nicht bewusst wahrgenommen werden, wenn über sie gesprochen wird, wie man es bei einer nicht an dieser Krankheit erkrankten Person nie tun würde. Das tut mir sehr weh. Was mich auch traurig macht, ist, wenn jemand nach Hause möchte, obwohl man genau weiß, das wird nie mehr passieren. Da ist man so hilflos. Was soll man sagen?
Oder wenn eine demente Person zwei Stunden hinter einer Zeitung sitzt. Sie will sich verstecken. Ich weiß aber sicher, wir verstecken uns aus bestimmten Gründen. Wir haben beispielsweise Angst. Ich sehe das so, das ist aber meine ganz laienhafte Interpretation. Ich denk mir, dass müssen die einzelnen Gründe sein bei solchen Sachen. Da bin ich in einem Raum, an einem Ort. Alles ist fremd. Nicht nur die Personen, sondern auch die Gegenstände. Nichts ist mehr da, das ich kenne. Ich glaube, da muss man furchtbare Angst haben.
Erinnerungen sind verschieden. Man hat ja gemeinsame Erinnerungen. Aber wenn zehn Leute ein gemeinsames Erlebnis haben, hat am nächsten Tag jeder eine andere Erinnerung an das gleiche Erlebnis.”

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“La figura dell'OSA non dovrebbe occuparsi solo dell’aspetto infermieristico, anzi sarebbe quasi inquadrata in una dimensione più sociale. Sarebbe bello, ma purtroppo per mancanza di tempo non è sempre possibile, occuparsi della persona dal punto di vista della socialità – attraverso il contatto, il colloquio.
A me piace avere un contatto con le persone e soprattutto, quando arrivano qui, chiedere un po’ della loro storia, cosa facevano prima di arrivare qui, quali sono i loro interessi e anche i loro gusti alimentari, proprio per fornire un'assistenza più completa. Io penso sempre che raccogliere informazioni rispetto a ciò che piace o non piace, dai parenti o dalla persona stessa una volta che è qui e prima che non sia più in grado di potercelo dire, prima che peggiori, ci permette di garantire una vicinanza migliore, di qualità, a quella persona.
Cerco anche di guardare molto le espressioni facciali e capire se una determinata cosa fa piacere o no. Quello che mi tocca è che certe persone siano contente di vedermi e magari lo dimostrino. E poi un’altra cosa che mi colpisce talvolta e di cui ho avuto esperienza diretta, è che i parenti delle persone con una forte demenza dicono “non mi riconosce più, è quasi inutile che io venga”. E non è vero, perché queste persone, dopo aver ricevuto la visita del figlio o della figlia che magari non hanno nemmeno riconosciuto, poi mangiano qualcosa in più o sono un po’ più rilassati.
Per me la memoria è come una ricchezza, un bagaglio che ci si porta dietro, che si può condividere. Ci sono persone con demenza che ti raccontano cose che tante volte pensi non siano vere, invece poi scopri che lo sono, sono spaccati della loro vita che hanno magari trasformato e che ti raccontano. Ma è importante, perché è qualcosa che resta fluido e viene modificato.”

Il testo è un estratto di un'intervista registrata nel gennaio 2023 con alcuni e alcune dipendenti della Cooperativa Sociale San Vincenzo di Bolzano.
La comunità di San Vincenzo è un partner di lunga data del formato pubblico di MUSEION Alzheimer Circle, che accompagna regolarmente i/le residenti della casa e i loro care givers nel mondo dell'arte.

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“Iniziamo con l'assistenza la mattina, ma non si tratta solo di cose pratiche, bensì di un approccio più rilassato, che inizia con il saluto, con lo scherzo. A me piace entrare con calma, presentandomi di nuovo, altrimenti può capitare che le persone – non riconoscendomi subito o non sapendo cosa voglia fare – si spaventino. Poi, quando hanno capito chi sono e cosa faccio, si ricomincia, si crea di nuovo la fiducia. Quando arrivo nelle stanze la mattina li saluto – “Buongiorno!”, “Guten Morgen!” – aspetto che si sveglino, altrimenti tiro un po’ su le tapparelle così che vedano la luce naturale che viene da fuori e si abituino gradualmente. Non mi piace accendere subito le luci. E poi chiacchiero, continuo a chiacchierare, non sto mai zitta.
Si va lì, con calma, si spiega “questa è la solita pasticca, quella che prendi tutti i giorni”, perché tanti non ricordano di prenderla. Bisogna capire quando non è il momento giusto. Per esempio, abbiamo una signora che tutte le mattine dice “ma come, così tante?”. “Sì – dico – sono sempre quelle.” Allora ci si gioca un po’ su, si svia un po’ il discorso, però alla fine le prende. Con un'altra signora, invece, bisogna fargliele vedere, farle capire che cosa sono, mettergliele in bocca. A volte le prende e poi le sputa. Magari ha bisogno di farlo con un'altra collega madrelingua tedesca perché io sono madrelingua italiana, ma a volte magari qualcuno preferisce avere una persona madrelingua e va benissimo per me.
Spero sempre di immagazzinare più ricordi possibile, perché la mia idea è che una volta che perdi – come succede a queste persone con demenza, con l’Alzheimer – il senso della realtà... È una scelta difficile, ma se fossi demente vorrei rimanere totalmente nel passato, non vorrei più tornare alla realtà per stare male, come succede ad alcune persone che si rendono conto della loro situazione.”

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“Per tempo libero si intendono attività legate agli interessi che le persone avevano prima di arrivare qui, anche se a volte si prova a proporre cose un po’ diverse.
Io organizzo regolarmente un piano settimanale con le attività da svolgere. Al mattino abbiamo un intrattenimento al quale le persone possono partecipare, chi non è autonomo può essere accompagnato. Si legge qualcosa di interessante dal giornale, non tanto l'attualità, ma magari qualcosa che possa risvegliare nelle persone la voglia di chiacchierare, di ricordare qualcosa.
Ho a che fare un po’ con tutti e, ogni tanto, anche con le persone che hanno perso in maniera più o meno consistente la loro memoria. Per me la cosa importante è essere cordiale, salutarle, chiedere loro come stanno, anche solo accompagnarle a fare un giretto nel giardino o qualche attività all'esterno. Sono tutte emozioni positive per loro, perché poi quando mi rivedono forse non ricordano più il mio nome, però sono felici, sono sempre sorridenti.
Per me la memoria è ricordare quello che si è fatto, quello che si ha in mente di fare. E mi accorgo, per esempio, che una volta, quando ricordavo tantissime cose, anche cose molto lontane nel tempo, mi confrontavo a volte con qualcuno che diceva “io non mi ricordo niente”, e io invece ricordavo tante cose. Adesso, al contrario, a volte mi accorgo di non ricordare cose che ho fatto, che hanno anche segnato in qualche modo la mia vita per un periodo. Le ho perse completamente. Più passano gli anni, più cose si fanno, più forse... Tra le cose che vivo qui penso, comunque, che perdere la memoria sia forse quella meno brutta che ti possa capitare, perché se perdi la memoria non ricordi più bene tante cose e questo sicuramente ti crea un disagio, ma minore rispetto ad altre malattie. Poi è una sensazione, chissà...”

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The history and culture of the oppressed are rarely embodied in material objects. Through his research, Yassine Ben Abdallah looks over the disappearance of archival materials regarding the enslaved and indentured labourers of the sugar plantations of La Réunion. The cultural identity of the former French colony has been shaped by the monoculture of sugarcane. However, the only objects left of this history pertained to that of the white masters. Most of the material culture of the ‘othered’ communities has disappeared or has been made to disappear, through the wear of colonial times.

In the historical plantation estate of Villèle sits the plantation museum of la Réunion, where only the master’s artefacts are displayed. How can the stories of the enslaved and indentured labourers be narrated when there is no object testifying to their existence or experience? Through the concept of Creole museography, Ben Abdallah’s work calls for an intervention that subverts the current curatorial approach of the institution. Situated in the museum, his project creates a confrontational space where dripping sugar machetes oppose the master’s artefacts begging the question: whose heritage and history are allowed to be preserved, narrated, and immortalized in a museum?

Photo © Florian Lafosse

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Al Yarmook in Damascus, Syria, was known as the capital of the Palestinian diaspora. Destroyed and deserted during the Syrian Civil War, it became inaccessible to former inhabitants. Sophie Welsh spoke to some of them and documented their memories on film. The documentary short film immerses viewers in memories of a place that they will never see as it was. Although the stories are personal, the universal themes of identity and memory within the wider context of forced displacement and war are central to the film’s narrative.

“I think it’s important to remember Al Yarmook, because it is our identity,” says a former inhabitant. “If you don’t remember your identity, then what are you?”

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Our everyday urban environment offers many opportunities to encounter traces of the past. We form a connection to monuments and monumental architectures, which in turn project their meaning and significance onto us. Far removed from their original context, fragments of the past now meet the present. Although monuments are built for eternity, they are undermined by continual change and interventions. They are moved or removed. My project is a capriccio composed of portions of monumental architectures ranging from the fascist period to the present and moving beyond that in an imaginary timeline. As in a real city, complementary narratives are brought into association with one another and elicit reactions. The individual fragments evoke for us the whole to which they belonged and the fate of the other fragments. They establish a different relationship to our bodies, making us aware of the space they occupy and of the rise and fall of the original project. The observer of the fragments is invited to explore them, to move around and to contemplate. The body becomes a tool for exploring and discovering the space.

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\"The Pact of Forgetting\" is a Spanish amnesty law approved after the death of dictator Francisco Franco in 1975, which prevents legal investigation into the crimes committed during his 40-year rule. This institutionalised concept of collective amnesia still affects society today, leaving an incomplete national historiography, maintaining the survival and supremacy of the victors' narrative.
How do we relate to the past? Who recounts it? What language do we use to describe what happened? From a list of memories of the artist's childhood, the performance \"El Pacto del Olvido\" investigates the historical silence in Spain, its intergenerational transmission and its effects on those born after the dictatorship. Immaterial elements, such as light and sound, evoke the protagonists' memories, including the author's grandmother, who lived through the Civil War, the post-war period and the dictatorship. Combining personal experiences, tales, historical accounts, and documents collected during the research, the performance presents a fragmentary narrative that questions how far silence can go before it becomes oblivion.

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Racale (Italy), 25-31.07.2020

The ‘Re-Birth’ installation stands on ashes scattered on the land in Puglia, southern Italy. These are the ashes of olive trees that made Puglia one of the mildest climates in the world. Olives are a major economy here, but the trees are now heavily affected by the deadly Xylella bacterium. A disease that has travelled more than 10,000 kilometres before reaching Puglia. What will happen to the ritual of harvesting when they die?
Working with harvesting tools to explore possibilities for new rituals, the installation is combined with a performance that invites a collective rethink of our relationship with the landscape and the community. A performance that reactivated a harvest that is no longer part of this territory, reviving memories that are still part of the community’s identity. In this way, Roberta Di Cosmo explores how to live with trauma and use mourning as a resource for rebirth.

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Il progetto fotografico prende le mossa da una riflessione sul concetto di “Saeculum”, termine coniato dai Romani per indicare il limite entro cui l’ultimo testimone di un ricordo specifico, membro sopravvissuto di una generazione, muore. Il progetto riapre un cassetto della memoria delle origini mezzadrili della regione Marche, recuperando le tradizioni cadute in disuso che stanno lentamente scomparendo con chi ne è possessore di memoria.

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Racale (Italy), 25-31.07.2020

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Tired Eyes Dislike the Young is a project developed by Luca Vanello over the course of several residency periods at Lottozero between 2017 and 2018.

The project investigates the relationship between human beings and non-human entities during the process of bereavement, in the phase of processing or accepting pain: it is in this emotional turmoil that materials acquire a particular relevance and meaning. The research ranges from a more intimate phenomenon of anthropomorphism, which triggers instinctive and impulsive emotional processes that tend to humanize inanimate elements in the attempt to overcome loss, to the impact of the latest digital technologies in today’s innumerable attempts to achieve immortality.

The work has been developed in collaboration with a thanatosensitive designer (a discipline that integrates a discourse on mortality into the research and design of technology, also considering the emotional state of a person).

The intervention, in the form of a site-specific installation activated by an unexpected and unannounced performative action, is configured as an ecosystem that has been exploded into its component materials, which are the result of various manipulations of the temporal line of the collected objects: acceleration, inversion and suspension of the life cycle become sculptural processes that reflect the inexorable attempt of humankind to control time, and its inevitable failure.
In liberating it from any formal intentionality, the material becomes an independent agent, emancipated from any symbolism and potentially able to assume new forms and meanings.

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The ongoing demographic transition has far-reaching implications for society. Not just in welfare economics and policies, but also on more intimate aspects, such as memory. As life span expands, so does the incidence of degenerative diseases such as Alzheimer’s. The World Health Organization estimates speak of 55 million people suffering from forms of dementia, with nearly 10 million new cases each year. In Italy, there are over one million people with dementia, of which about 600,000 have Alzheimer’s disease. Approximately three million people are involved in caring for them.

The first symptoms include short-term memory loss, and can progress to other behavioral and physiological disturbances, eventually leading to an inability to provide for oneself. As memory fades, retirement homes become essential communities in the caring of the elderly. The focus is on the telling objects and infrastructure that characterize this type of building, and confronting the images with original notes and documents of a person affected by dementia.

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Se da un lato i ricordi non sono altro che vettori con la capacità esclusiva di riportare in auge degli eventi conclusi e di conferire un aspetto di immortalità alle cose morte, dall’altro portano con sé il rischio di occupare smisuratamente i nostri pensieri.
L’ordinaria vita del protagonista del racconto, “un uomo qualsiasi di un posto qualunque”, verrà travolta da una consapevolezza tutta nuova rispetto al peso delle proprie memorie quando, una mattina, capirà di aver smarrito un “grande ricordo”. Una lunga e surreale ricerca tra gli oggetti di casa sua, fedeli ispiratori di immagini passate, lo porterà infine a una nuova verità, slegata dall’ossessione per il proprio passato: l’unica cosa da non perdere mai è la fiducia nel tempo ancora da dedicare.

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Cos’è che davvero si cerca scavando nella memoria familiare? Che cosa ci aspettiamo abbiano da dirci gli spazi e le cose che sopravvivono ai nostri cari dopo la loro scomparsa?
Su un ferro per la maglia o in un ditale, sul manico di un ventaglio o nella piega di un cuscino, su una tovaglia di cotone leggermente ingiallita o sul bordo di una tazzina da caffè sono custoditi il calore ed il contatto dell’uomo, ed è in spazi come questi, liminari fra la mera utilità di un oggetto e la sua capacità di comunicazione, che sta la sua memoria collettiva ed individuale.
Le forme del tempo. Archeologia di memoria familiare è un libro fotografico che si sviluppa dall’analisi dell’ambiente domestico della mia famiglia, che da un lato, quello paterno, ha subito profonde trasformazioni dopo la morte di mia nonna Olinda nel 2019, e dall’altro un ambiente che è rimasto congelato dal momento in cui è venuta a mancare, nel settembre 2021, nonna Pupa.

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The documentary “Aluminium Duce” investigates the turbulent history of an eponymous nicknamed fascist monument once located in Italy’s most Northern region, South Tyrol.
Designer Andreas Trenker retraces the story of this equestrian statue from its blueprint in 1937 to its violent destruction in 1961 whereby he explores the violence performed by and against the effigy. By bringing together a variety of archival material and interviews with contemporary witnesses, the documentary functions as a point of intersection of diametrically opposed narratives and views regarding the monument which poses the questions of how we deal with recent history and its materialised remnants.
The fragmentation of both the statue and its story triggered a search for traces which also brings to light the complexity of a multilingual border region and functions as a lens to look at the geopolitical landscape of the early 1960s when an insurgent turmoil formed in the heart of Europe.

Photo © The Author

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One of the most significant aspects of the 9/11 attack on the Twin Towers was its media impact. Cotton under my Feet expresses this watershed moment via a series of different shots of the sky over various American cities collected by the artist from the internet. The glimpses of sky, pictured between buildings that appear in negative format, reflect a horizon that inevitably changed after the attack. Many eye-witness accounts refer to how blue the sky was that day. So, in an attempt to capture its exact shade of blue, the Lebanese artist Walid Raad consulted various sources and ended up identifying 96 different shades of blue, which make up the different sections of the work.

96 inkjet prints on archival paper
Print (each) 21.5 x 26 cm
Frame 25 x 32 x 2.5 cm
Ed. 7 + 2 a.p.
MUSEION. Museum of modern and contemporary art Bolzano
Collection Enea Righi
Foto: Courtesy the artist and Sfeir-Semler Gallery Hamburg / Beirut

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The heads in question are those of King Vittorio Emanuele III and Benito Mussolini, five bronze sculptures the artist uncovered in the storerooms of the EUR Palazzo degli Uffici Building in Rome, commissioned from Giovanni Prini (1877-1958) and Domenico Rambelli (1886-1972) for the Universal Exhibition of 1942, but never displayed due to the event being cancelled. In 2009 Rossella Biscotti succeeded in presenting them to the public for the first time, at the Nomas Foundation in Rome, radically subverting the original celebratory intent of the sculptures and using them to elicit reflection and discussion. By deconstructing the concept of monumentality, the work effects an analysis of historical events and an exploration of the meaning of artistic representation.
For the Museion exhibition in 2015 Rossella Biscotti created casts of the heads which maintain an indexical relationship with the original works, but also effectively deconstruct them. These new casts represent a continuation of the process sparked by physically transporting the sculptures into a different location in 2009, but the artist’s modus operandi evinces a clear interest in the gap generated, the critical function that a cast can play. The fact that the heads are reproduced in coloured silicon and acrylic resin, fragmented, leaves no scope for nostalgia, instead opening up new ways of thinking about the future.

RTV-2/118 Silicone, plaster, ceramic-like acrylic resin (on 2 Europool pallets)
MUSEION. Museum of modern and contemporary art Bolzano
Foto: Nicolò Degiorgis

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RTV-2/118 Silicone, plaster, ceramic-like acrylic resin (on 2 Europool pallets)
MUSEION. Museum of modern and contemporary art Bolzano
Foto: Nicolò Degiorgis

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Francesco Arena describes his work as a “stratification of thoughts that converge and collapse to form an object”.
The work “Trittico 57” revolves around the convergence of two historic events that took place in 1957. In March of that year, on occasion of a visit by the Italian President Giovanni Gronchi to Bolzano, it was decided that the monumental frieze that Hans Piffrader had created in 1943 for the Casa Littoria, the building which now hosts Bolzano’s Finance Offices, should finally be completed. Due to the war and the political events, three of the 57 panels had not been attached and had remained on the balcony of the Casa Littoria until 1957.
A few months after the frieze in Bolzano was finally completed, the newspaper “l’Unità”published a letter by Italo Calvino, in which the writer announced his resignation from the Italian Communist Party due to differences of opinion regarding Communism.
The three slabs presented are the same size as those used to complete the frieze in 1957. Using a sand blaster to erode the stone, the artist has written out Calvino’s letter in Morse code. The travertine, a stone often used for monuments, now bears a bas-relief that unites two episodes in history, a sort of last testament, “written and read in stone”, which is all but invisible to the eye, but detectable by touch.

3 Travertine slabs with sculpted Morse code
Slab 1 275 x 122 x 5 cm
Slab 2 275 x 124 x 5 cm
Slab 3 275 x 120 x 5 cm
MUSEION. Museum of modern and contemporary art Bolzano

Foto: Augustin Ochsenreiter

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Mofokeng began to take photographs as a boy, on the streets of his home town in South Africa, and since then has continued to bear witness to life in his country, capturing everyday scenes from the apartheid era to the present.
His black-and-white shots immortalize happy times and examples of oppression with the same level of intensity. Divided into themes, they depict religious rituals, desolate landscapes, memorials, and people in the artist’s personal life. In the setting of the Motouleng Cave near the city of Clarens, an important religious site, Mofokeng photographed his brother Ishmael with his eyes hazy and indistinct, like the bodies of the people behind him. As well as capturing a very spiritual place, this shot is one of the last the artist took of his brother before he died of AIDS.

Black and white photograph on baryta paper
100 x 150 cm
Ed. 4/5 + 2 a.p.
MUSEION. Museum of modern and contemporary art Bolzano
Foto: Santu Mofokeng, Courtesy carlier | gebauer

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Mofokeng began to take photographs as a boy, on the streets of his home town in South Africa, and since then has continued to bear witness to life in his country, capturing everyday scenes from the apartheid era to the present. His black-and-white shots immortalize happy times and examples of oppression with the same level of intensity.
Divided into themes, they depict religious rituals, desolate landscapes, memorials, and people in the artist’s personal life.
Self Portrait, KZ 1, Auschwitz belongs to the series entitled Trauma Landscape, which also includes Theresienstadt, Sachsenhausen, and Ravensbrück. The artist engaged with these sites of historical trauma relating himself―in the photo on display we see his shadow on a window facing the concentration camp―and the history of his country with those places and stories.

Black and white photograph on baryta paper
100 x 150 cm
Ed. 2/5 + 2 a.p.
MUSEION. Museum of modern and contemporary art Bolzano
Foto: Santu Mofokeng, Courtesy carlier | gebauer

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In March 2011, 72 passengers left the Libyan coast heading in the direction of Italy on board a small rubber boat at the time of NATO’s military intervention in Libya. Despite several distress signals relaying their location, as well as repeated interactions with at least one military helicopter and a military ship, they were left to drift for 14 days. As a result of the inaction of all state actors involved, only nine of the passengers survived. By combining their testimonies with wind and sea-current data as well as satellite imagery, Forensic Oceanography reconstructed the liquid traces of this event, producing a report that served as the basis of several legal complaints.

forensic-architecture.org

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forensic-architecture.org

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In By heart, Portuguese playwright and actor Tiago Rodrigues teaches a poem to 10 people. These 10 people never saw the performance and they have no idea which text they will be learning by heart in front of the audience. While teaching them, Rodrigues unfolds a mix of stories of his soon-to-be-blind grandmother and stories of writers and characters from books that are, somehow, connected both to the old lady and himself. The books are also there, on stage, inside wooden fruit crates. And as each couple of verses is taught to the group of 10 people, improbable connections emerge between Nobel Prize winner Boris Pasternak, a cook from the north of Portugal and a Dutch TV program called Beauty and Consolation, and the mystery behind the choice of this poem is slowly solved.
By heart is a piece about the importance of transmission, of the invisible smuggling of words and ideas that only keeping a text in your memory can provide. It’s about a theatre that recognises itself as that place of transmission of what you can’t measure in meters, euros or bytes. It‘s about the safe hiding-place that forbidden texts have always found in our brains and our hearts, as a guarantee of civilization even in the most barbaric and desolate times. As George Steiner himself would put it in an interview to the TV program Beauty and Consolation: “Once 10 people know a poem by heart, there’s nothing the KGB, the CIA or the Gestapo can do about it. It will survive”. But, bottom line, By heart is a training program for the resistance that only comes to an end when the 10 new soldiers know a poem by heart.” (from the company programme)

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From the first written words, to photography, using external memory aids to support our human memory is an age-old practice. However, rapid technological development has seen the evolution of artificial memory forms that endure indefinitely, such as hard drives and the internet. Tanne van Bree coins the term Digital Hyperthymesia to describe this, based on Hyperthymesia: a rare neuropsychological condition characterised by a superior memory. By researching the emergence of Digital Hyperthymesia, Tanne anticipates the consequences on our behaviour, identity and perception of time. Her aim is to draw attention to this phenomenon, and to reform our cultural view of memory. After all, human memory is a duality of remembering and forgetting. This inspired Artificial Ignorance – an algorithm that offers a digital equivalent of ‘forgetting’. The algorithm replaces photos of someone’s external memory with visually similar internet images. These new images serve as ‘memory cues’ to stimulate active remembering as an alternative to the passive display of memories.

","palette":{"Vibrant":[105,224,108],"DarkVibrant":[22.71049723756906,109.88950276243094,24.908287292817676],"LightVibrant":[116,252,124],"Muted":[76,152,75],"DarkMuted":[27,36,28],"LightMuted":[194,223,193]},"image":{"id":"66faad55-0feb-4396-98d7-c5045b15d36b"}},{"id":"51","title":"Jetske Visser, Forgotten Memory, 2011","description":"

What is a teapot when you no longer know what a teapot is? How does a person suffering from dementia experience his or her surroundings? In Jetske Visser’s film Forgotten Memory the viewer is submerged in the world of dementia. From a desire to understand the world of people suffering from the condition, Visser created an image of their hazy, fragile and precarious existence. As a metaphor for the condition she has transformed a series of everyday objects to demonstrate that things are not always what you would expect.

","palette":{"Vibrant":[110.1136363636364,127.49999999999999,144.8863636363636],"DarkVibrant":[57.25909090909092,66.3,75.34090909090908],"LightVibrant":[179.6590909090909,188.7,197.74090909090907],"Muted":[156,124,116],"DarkMuted":[114,101,102],"LightMuted":[180,189,198]},"image":{"id":"aebd5c9e-0af8-499b-a6ed-70c898d12099"}},{"id":"52","title":"Lauriane Heim, Productions Towards Mortality, 2019","description":"

The project uses the vocabulary of a production system in a performative installation in which a participant and an operator produce and recycle a clay object. The production follows four steps surrounding death: deposition, transit, separation and remembrance. Dry repetition of the movements brings the focus to body and mind, allowing emotions to flow.

","palette":{"Vibrant":[196,161,120],"DarkVibrant":[92.27319587628865,68.35051546391752,40.32680412371135],"LightVibrant":[204,176,148],"Muted":[162,143,114],"DarkMuted":[89,70,55],"LightMuted":[199,190,168]},"image":{"id":"e655cfb5-1121-4bc2-9bdb-6e7c0dd4f4aa"}},{"id":"53","title":"Andreas Trenker, Aluminium Duce, 2019","description":"

Photo © The Author

","palette":{"Vibrant":[34.404761904761784,6.07142857142855,248.92857142857144],"DarkVibrant":[17.890476190476136,3.1571428571428575,129.44285714285715],"LightVibrant":[146,132,252],"Muted":[144,133,114],"DarkMuted":[67,60,54],"LightMuted":[220,212,180]},"image":{"id":"8576e39e-cd84-477c-9d0f-9d604c9bee19"}},{"id":"54","title":"Camila Capra Mesalles, No Function Only Meaning, 2022","description":"

Voluminous grief is alive. How to live with it when being affected and vulnerable is considered a weakness? When pain is considered something to be kept private? Refusing social conventions that prescribe discrete grieving, Camila Capra experienced and interprets grief as neither encapsulated in a moment in time, nor placed in the past. The autoethnographic project explores the intimate and often unpredictable space of grieving, between memory and loss, through the malleability of clay. The raw clay enables placing death and loss outside of the self, and spatializing and shaping emotions. Through the materiality and process of clay, grief is granted relational, generative and reparative qualities.

","palette":{"Vibrant":[172,100,68],"DarkVibrant":[24,15,6],"LightVibrant":[236,215,187],"Muted":[146,117,89],"DarkMuted":[74,56,39],"LightMuted":[207,186,167]},"image":{"id":"199bbbb2-da99-4c70-a726-1aa700306d3e"}},{"id":"55","title":" Adriana Comparetto, Ex Nunc – Building Memory, 2019","description":"

Monuments are designed to commemorate important events or persons. They showcase our national identity, but are never inclusive. Adriana Comparetto builds communal monuments with migrants who live on the edge of society, offering them the chance to gain citizenship status. The collective creation of a mosaic in public space excludes nobody. ‘Ex Nunc’, meaning ‘from now on’, does not look back, but into the future. It invites newcomers to participate and at the same time revives the traditional craft of hydraulic tile-making. Pressing colourful tiles together is a good way to start a conversation and build new memories.

Video Link

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As a daily activity throughout our adult lives, cooking is largely automatic. Stirring, pouring, grinding, kneading, sprinkling; our hands know what to do. This is known as procedural memory and is the last to slip away in people suffering from Alzheimer’s. Aurore Brard calls on these ingrained practices in ‘Moving Memories’, a set of playful, intuitive tools that mimic familiar specific movements in cooking, stimulating the senses and encouraging curiosity. Unlike real kitchen utensils, there is no wrong way to handle them. In a world that has become confusing and foreign for these patients, such movements are comforting in their familiarity.

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\"The preservation of memory, of the memorable, is always already also its elaboration: it is never a question of a simple story of 'what happened', since what happened has only happened in not having completely happened; it is memorized only through its being forgotten, only in its being effaced; selection of what merits retention occurs in what should have been, and therefore also in anticipating, positively and negatively, what soon will have been able to happen.\"

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\"Markers of lost bodies, Walker's silhouettes create narratives without narration, memorials without monumentality, and, perhaps most important, figural form without the figure.\"

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Before it fades

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MEMORY
IS DELAY
MEMORY
IS A FRAGMENT
MEMORY
IS OF THE BODY THAT PASSED
MEMORY
IS THE TRACE OF A WAVE GOODBYE MADE WITH A SLIGHTLY CLENCHED FIST

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\"Remembering or forgetting is doing gardener's work, selecting, pruning. Memories are like plants: there are those that need to be quickly eliminated in order to help the others burgeon, transform, flower.\"

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The project looked at the architecture of data centres as the fundamental component of today’s political, cultural, socio-economic landscapes. Data centres are the testing ground for alternative models of post-human institutions.

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The starting point of Arkadi Zaides' Necropolis (2021)is the death list of migrants attempting to reach Europe as part of the so called refugee crisis(or 'crisis for refugees,' as Gurminder K. Bhambra more aptly calls it to remove any doubt as to who is actually suffering). The team members conceive a virtual depository to document the remains of the many whose deaths are to this day unacknowledged. They use a hybrid methodology consisting partly of a documentary and investigative approach, partly of choreographic practice, building an archive of individuals that were admitted to Europe only as bodies.

On a huge black screen, a Google Earth image. On the map, a red dot appears, identified by geographical coordinates. Then a name, and a date and cause of death. One after another, more red dots appear in Belgium, France, Norway, Switzerland as well as along the shores of the Mediterranean. Now and then, filmed images invite the spectators to virtually walk through cemeteries, leading to a grave. Death after death, name after name, place after place, Arkadi Zaides pieces together Necropolis, a city of thousands of migrants and refugees who have lost their lives traveling to Europe. With this poignantly restrained performance, the Israeli choreographer confronts the consciences of the living with their responsibilities and potential obligations.

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To remember, one must forget
This is the moment when I or you become a story.
The story began
when the other story ended.
It’s the story of forgetting
These images are ruins
Things that no longer exist
Bodies that no longer exist
I am no longer myself
You are no longer yourself
We are already something else
Dying things
Past and future flesh
This story is a storage
A storage room, an archive species
A storage room that breathes in
and breathes out
Breathes in and breathes out
We are always the end
of something else
An archive of ruins
Full and empty.

(Jorge Jácome, Super Natural, movie, 2022)

A virtual exhibition exploring the loss of memory through an unfinished collection of found or produced digital materials: photographs, texts, interviews, a commissioned sound piece, artworks, and online references.
A digital depot, a box of unorganized data, Forget_me_not allows you to interact and play with its elements, forge your connections, and make your memories.
Forget_me_not aims to acknowledge and to homage all that is lost and forgotten, accidentally or forcefully, in a digital space of appreciation and reflection.
This exhibition also takes its name from the forget-me-not flower, a symbol of hope for the future of not being forgotten, because memories are like plants. Remembering or forgetting is doing gardener’s work: selecting and pruning.
A flower, a fragile representation of our curatorial approach that sways between amnesia and remembrance, fiction and fact.
The materials you are invited to explore are organized in a number of concentric circles that start from the body and the self-experience of loss, and then move beyond, addressing the theme to the communities we live in, to society, out to the virtual space and our relationship with technology and the future.

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Cloth and Life
Words by Kimsooja

We are wrapped in cotton cloth at birth, we wear it until we die, and we are again wrapped in it for burial. Especially in Korea, we use cloth as a symbolic material on important occasions such as coming of age ceremonies, weddings, funerals, and rites for ancestors. Therefore, cloth is thought to be more than a material, being identified with the body that is, as a container for the spirit.

When a person dies, his family burns the clothes and sheets he used. This may have the symbolic meaning of sending his body and spirit to the sky, the world of unknown. When I look back over my more than twenty years of handling bedcovers, I feel that I have always been performing, guided by the piles of cloth I have lived among.

What in the world have I stitched and patched. What have I tied up in bundles. When will the journey of my needle end, my silkworm unwrap its flesh. Will it in the end slough off its skin. Will the bundles with no destinations find their ways to go.

Bunch of used fabrics, clothes and blankets (4 pieces)
MUSEION. Museum of modern and contemporary art Bolzano
Photo: Antonio Maniscalco / Courtesy Galleria Raffaella Cortese

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Cloth and Life
Words by Kimsooja

Bunch of used fabrics, clothes and blankets (4 pieces)
MUSEION. Museum of modern and contemporary art Bolzano
Photo: Antonio Maniscalco / Courtesy Galleria Raffaella Cortese

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Quello che vorrei dimenticare è la commercializzazione della pornografia.

Tutti noi abbiamo delle fantasie erotiche a volte, giusto? In altre parole, la capacità immaginava di rappresentare a se stessi scene eroticamente eccitanti... quindi il concetto di pornografia si basa sulla visione (e sul ricordo?) di queste fantasie in immagini, disegni, scritti, oggetti o qualsiasi altro media. La pornografia intesa come ciò che ho appena detto ha origini molto antiche. Forme di rappresentazione esplicita di atti sessuali sono documentate nella maggior parte delle culture nel corso della storia. Dalle anfore greche, agli amuleti fallici, alle stampe cinesi, i contenuti pornografici sono infatti presenti in quasi tutte le epoche e aree geografiche con le più svariate interpretazioni e utilizzi.

Con l'avvento di Internet, il modo in cui il contenuto pornografico stesso è stato distribuito è cambiato in modo permanente.
Così, da un valore in qualche modo politico, legato alla liberazione del corpo e contro la censura, e soprattutto culturale, la pornografia ha assunto negli ultimi decenni o forse nell'ultimo secolo un valore puramente commerciale.
Questo approccio capitalistico ha generato una conseguente convenzione monetaria dell'atto sessuale, e la sua distribuzione su larga scala in una realtà maschio-centrica ha portato alla produzione di misticismi sessuali perpetuati e all'immaginario sessuale mainstream.

L'oggettivazione del corpo, soprattutto di quello femminile, e la violenza costante presente in contenuti video di questo tipo sono certamente lo specchio di una realtà sessuale repressa e fortemente soggetta a tabù, ma allo stesso tempo questi contenuti alimentano questa stessa visione. Che tipo di cultura sta rafforzando il porno con Internet?

Inoltre, proprio grazie ad Internet, i video pornografici sono a disposizione di molte più persone, totalmente gratuiti o con semplici divieti fantocci per i minori, che, posso confermare, vengono facilmente aggirati. E l'accesso a questo tipo di contenuti, a tutte le fasce d'età, provoca un'errata concezione del sesso e dell'educazione ad esso.

Pensate a un bambino che, a soli 6 anni, vede scene pornografiche da un altro bambino, suo cugino, di qualche anno più grande, trovate su Internet. Quali potrebbero essere le conseguenze?
Sì, quel bambino ero io... e ricordo ancora le forti e contrastati sensazioni provate nel guardare quei video. Il disgusto che diventava quasi paura nel vedere la violenza con cui l’atto sessuale viene apparentemente consumato ma anche la curiosità per qualcosa che sembrava rappresentare i miei desideri e impulsi
Chi ero in quel video, ero lui, ero lei? agivo e prendevo o passivamente subivo? per qualche ragione era con la passività che empatizzavo di più. Ma il punto è: di quale passività stiamo parlando? Rinchiuderla in quella di una persona che altro non è che un feticcio ubbidiente alle necessità e volontà dell’individuo attivo? Questa concezione così maschilista della passività ha generato in me la necessità di soddisfare l’altro, perché è questo quello che si deve fare no?

Queste scene si sono cristallizzate nel tempo nella mia testa, così come nella testa di tutti, in modo diverso, creando traumi, aspettative e pressioni sull'intera sfera sessuale che sono difficili da cambiare.

Per questo brindo a un mondo che abbia dimenticato la pornografia. Un mondo in cui ognuno possa scoprire la sessualità a modo suo, alla sua velocità, con i suoi tempi, senza essere sottoposto a un immaginario sessuale limitante e, soprattutto, fuorviante, oggetto delle leggi del mercato che lucra e specula sui desideri e gli impulsi sessuali di tutti noi.

Salute all'oblio!

_____
How to: Forget
Workshop led by Lev Bratishenko at Museion, April 2023
With Carmine Auricchio, Francesca Cantele, Alessia Frerotti, Luca Gori,Miriam Governatori Leonardi.
Image: Bidgood, James Bidgood, Taschen, First edition (May 1, 1999)

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Good morning everyone,

yes, no sorry good evening, yes about that, whoever had the amazing idea to invent a different greeting for every moment of the day? Good morning, good afternoon, good evening and good night? Why cant we only have one? The only loss we would have it would be the incredibly melancholic catchphrase of Truman Burbank.
I would love everyone to raise their glasses and invite you all to forget about greetings!
The first known Valentines day message dates back to 1415 and was from the Duke of Orleans, Charles to his wife while he was kept captive in the tower of London! Even in the early days Valentine's Day sucked.
Am I the only one tired of hearing every year yes its just another day invented for commercial reasons okay now that we all agree on that, should we stop reminding each other our relationship status? Thank you.
Greetingis an act ofcommunicationin which human beings intentionally make their presence Im quoting Wikipedia on what greetings are. You see its already set as an incredibly egocentric purpose, but lets go on maybe it gets better knowntosuggest a type of relationship orsocial status between individuals or groups of people
So, you are telling me that if meet you down the street the way I say hi! or good evening sir is already setting a certain social status between us? Yes, of course.
I personally hate this kind of situations tand the spiralling thoughts that come from them, likeshould I wish her ahappy birthday? But she didnt wish it to me last month but then if I dont do it then she wont do it next time and so on and so on or like we say hi if we meet in the hallways, so we are not friends, but also not strangers, but also I literally dont even know his namePeople, we could avoid all that!
In all movies the job of the greeting cards makers is always shown as the most depressing ever. Lets free these poor people form this infernal job
Greeting cards are literally the definition of cringe, now there is this new trend of making them even more trashy and cringier but no, its not funny, its just more cringe
Think about it. For ages we have always used a paper card with the same exact word on it because we do not know what to say when someone dies it is quite terribleI get it, its hard, but come on, a card?
The tradition of sending greetings can be traced as far back as the early Egyptians. They used papyrus scrolls to send letters and to the Ancient Chinese, who exchanged messages of good will at New Years.But today do we really need that? Have we not changed at all in more than a thousand years? Do you really need your schoolmate from elementary school you havent heard since then, to remind you that a new year is starting and that in the last you havent done shit? happy new year to you and your family what if I dont have a family Riccardo, uh?
Anyway, I hope you all see ita s well that the future would be brighter, more real, more authentic, more free, less cringe, if we all forgot this tradition. Cheers! To forgetting greetings

____

How to: Forget
Workshop led by Lev Bratishenko at Museion, April 2023
With Carmine Auricchio, Francesca Cantele, Alessia Frerotti, Luca Gori,Miriam Governatori Leonardi.

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‘In my early work I pretended to speak about my childhood, yet my real childhood had disappeared. I have lied about it so often that I no longer have a real memory of this time, and my childhood has become for me some kind of universal childhood, not a real one.’

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Global migration is one of the most pressing matters facing contemporaneity, but also a leitmotif in the work of Massimo Ricciardo. In his most recent project, the artist creates a dialogue between photographic objects from the Photothek of the Kunsthistorisches Institut in Florenz and objects of migration: things that are functional to the journey, such as passports and nautical charts, but also to identity and memory, such as family photographs, diaries, a sample of earth from the homeland. The installation generated compelling questions about these ‘talking’ objects: who do they belong to? Are they part of our cultural heritage? What are the appropriate artistic and curatorial practices if one decides to collect, archive, exhibit, transform them? The dialogues prompted by Ricciardo’s installation continue in this book and involve a polyphony of voices.

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