Opera Viva, the Billboard…Giammarco Cugusi

23 November - 13 December 2020

Opening…Live on Facebook (@flashbackfair)
Wednesday 25 November…hrs. 18:30

The seventh poster of Opera Viva Barriera di Milano, the project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by Flashback art fair, is inaugurating Wednesday 25 November at hrs. 18:30 live on – @flashbackfair from piazza Bottesini in Turin. The work is You pay the move. Of a precarious integration by Giammarco Cugusi (2020)

The theme is Ludens, inspired to Roger Zelazny’s sci-fi tale Unicorn Variations and to the work of Johan Huizinga: therefore, the game thus meant as a foundation of human life and creativity, as an essential approach for the continuous reconstruction of the world.

This year, the Opera Viva Barriera di Milano project, which usually ended at the end of the fair in Pala Alpitour, is being extended through time – thanks to the support of Turin’s public and private institutions – like the fair itself in its online version (http://www.flashback.to.it/it/expo-2020/). There will be two further appointments with the 6×3 poster in Piazza Bottesini, from now to December with the works by Gianmarco Cugusi and Luisa Turuani, which ranked immediately after the two winners of the open call in the jury’s assessment. 

The work by Cugusi is part of a series of 45 photographs shot by the cellphone, a project that is currently in progress and is the result of a collaboration with organization Save the Children and with the community of the Milan’s community of Giambellino. 
For months, the author has been collecting images of the boys and girls of the neighborhood playing the “pay the move” game. 

How does it work? If you look into the hole formed by the fingers – but you must not – you receive a blow, i.e. you are paying for making a wrong move. “Paying the move” becomes a metaphor of social exclusion, of paying for a wrong look, and drives its roots in the condition of social and economic disadvantage these adolescents are witnessing; the pay the “precarious integration”, which often risks to turn into actual marginalization, yet, they show their will to get into touch.  

As the author, Giammarco Cugusi, wrote in the motivation that accompanies the presentation of his work: “I believe it is right – today more than ever – that these girls and boys do not pay the move, but – rather – they return it. In this game, there is no violence, but the adolescent will to touch, feel, know each other.  In this period, which is strongly characterized by the social distancing, where these girls and boys have suffered the reclusion in narrow and sometimes overcrowded spaces, I believe this simple gesture of closeness and – somehow – of revenge is even more meaningful.  A great “pay the mode” is fated to all that will pass – either voluntarily or by chance – in front of that large adverting billboard”.  Giammarco Cugusi’s work is a reflection dedicated to a community that – even though it knows the “margin” and lives in it – shows and demonstrates us what loving, being together, living with the other and with the others in the difference means: the relationship, in its pure, more interesting and radical form, means being able to think with (“compensate” as  Donna Haraway  writes), and to think like the other, to be the other and his/her thinking, idea, vision of the world and  world itself.