CORPI ESTRANEI:  Statement        Artwork

Title: Corpi Estranei
Type: Cross-media site-specific performance
Technique: Mixed media (chalk, photo collage, markers, sounds, voices, tuner)
Year: 2019

Corpi Estranei is a performance in which I address the issue of immigration and racism, for which I feel there is an urgency. Everyday life leads us to look beyond our horizons; in an increasingly overpopulated world, where economic wealth is concentrated only in a few places, it becomes impossible not to think about inequality. I have the need to address these issues and to reflect on the problem with contemporary society – addiction to news.
In the past, I have developed this theme in an allegorical way, the idea of the ‘alien’ and the ‘different’, the mutations resulting from the drift of contemporary society, using different expressive languages ranging from photography to installation to cinema. With Corpi Estranei I have arrived at performance art, exploring and deepening on the one hand social demands, which are always present on my artistic path, and on the other developing a performance aspect, which is already present in all my works but which now is no longer mediated by photography. The diachronic exhibition becomes synchronic: here and now.
In this work, I deal with pressing topical themes, which crucially demand a journey aimed towards awareness. An awareness which can only be achieved through a deep analysis of the emotions that this reality brings up. Emotions that are at times intrusive, disorienting: they are the real foreign bodies which I have to deal with.
In the environment #1 of the Macro Asylum there is, we could say, the representation of my inner space: a table placed in the middle of the room on which I shape my thoughts and emotions on paper towels shaped through the technique of collage. It is a technique I have long explored and this includes texts and images taken from magazines and newspapers which I have accumulated over time. I make my presence felt on these large sheets of paper through the use of coloured chalks, reinterpreting and modifying the numerous visual and textual suggestions. I merge the images with new creations of tribal descent that I wanted to create using conflicting colours which have a strong symbolic and expressive value.
This first performative moment in the work is accompanied by direct migrant testimonies, sounds which are activated when viewers pass by and voices which speak about their homelands. Nostalgia, the journey, the suffering, the experience of welcoming, the feeling of estrangement, dreams, pains. In addition and also in contrast to this, there are the declarations of those who are afraid of “mixtophobia”, the natives of the countries migrants flee to, who are scared of the harsh realities from which migrants flee, they fear of catching something from them or losing their few and rare privileges, and so reject them in advance, based on preimposed prejudices and fears.
Once completed, the panel which I drew is placed along the walls of the room in a long storyboard, continuously evolving, and an extension of my inner space from where everything started.
The narrative, the message, always needs a viewer to be able to give depth to the sense of the narrative itself through personal interpretation. The artist traces the path, guides towards discovery but it is the visitor who ultimately borrows the path for his or her own awareness. This is why each visitor can, in turn, put his or her own contribution on the storyboard – a comment, a feeling, meaning that not only is the viewer given the chance to become involved but through this process the work of art itself becomes in fact fluid, continuously evolving. The viewer in this way is encouraged to have an opinion, to forget the apathy imposed by media overexposure and to move on to action, creating a polyphony (also visual) of different experiences and points of view. An inclusive artistic experiment of comparison that, we can say, is already in itself a concrete example of synthesis with otherness.

Title: Corpi Estranei
Type: Cross-media site-specific performance
Technique: Mixed media (chalk, photo collage, markers, sounds, voices, tuner)
Year: 2019

Corpi Estranei is a performance in which I address the issue of immigration and racism, for which I feel there is an urgency. Everyday life leads us to look beyond our horizons; in an increasingly overpopulated world, where economic wealth is concentrated only in a few places, it becomes impossible not to think about inequality. I have the need to address these issues and to reflect on the problem with contemporary society – addiction to news.
In the past, I have developed this theme in an allegorical way, the idea of the ‘alien’ and the ‘different’, the mutations resulting from the drift of contemporary society, using different expressive languages ranging from photography to installation to cinema. With Corpi Estranei I have arrived at performance art, exploring and deepening on the one hand social demands, which are always present on my artistic path, and on the other developing a performance aspect, which is already present in all my works but which now is no longer mediated by photography. The diachronic exhibition becomes synchronic: here and now.
In this work, I deal with pressing topical themes, which crucially demand a journey aimed towards awareness. An awareness which can only be achieved through a deep analysis of the emotions that this reality brings up. Emotions that are at times intrusive, disorienting: they are the real foreign bodies which I have to deal with.
In the environment #1 of the Macro Asylum there is, we could say, the representation of my inner space: a table placed in the middle of the room on which I shape my thoughts and emotions on paper towels shaped through the technique of collage. It is a technique I have long explored and this includes texts and images taken from magazines and newspapers which I have accumulated over time. I make my presence felt on these large sheets of paper through the use of coloured chalks, reinterpreting and modifying the numerous visual and textual suggestions. I merge the images with new creations of tribal descent that I wanted to create using conflicting colours which have a strong symbolic and expressive value.
This first performative moment in the work is accompanied by direct migrant testimonies, sounds which are activated when viewers pass by and voices which speak about their homelands. Nostalgia, the journey, the suffering, the experience of welcoming, the feeling of estrangement, dreams, pains. In addition and also in contrast to this, there are the declarations of those who are afraid of “mixtophobia”, the natives of the countries migrants flee to, who are scared of the harsh realities from which migrants flee, they fear of catching something from them or losing their few and rare privileges, and so reject them in advance, based on preimposed prejudices and fears.
Once completed, the panel which I drew is placed along the walls of the room in a long storyboard, continuously evolving, and an extension of my inner space from where everything started.
The narrative, the message, always needs a viewer to be able to give depth to the sense of the narrative itself through personal interpretation. The artist traces the path, guides towards discovery but it is the visitor who ultimately borrows the path for his or her own awareness. This is why each visitor can, in turn, put his or her own contribution on the storyboard – a comment, a feeling, meaning that not only is the viewer given the chance to become involved but through this process the work of art itself becomes in fact fluid, continuously evolving. The viewer in this way is encouraged to have an opinion, to forget the apathy imposed by media overexposure and to move on to action, creating a polyphony (also visual) of different experiences and points of view. An inclusive artistic experiment of comparison that, we can say, is already in itself a concrete example of synthesis with otherness.

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Design by Veronesi Namioka

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