Special project...Flashback is opera viva

Maïmouna Guerresi “Rubber Tire, First Lesson”


OPERA VIVA BARRIERA DI MILANO 2020

Presents

Maïmouna Guerresi
Rubber Tire, First Lesson (2014), polyptych

This time, we will not meet under the poster, this time it will be a private journey to a public place” (A. Bulgini)

The 2020 edition of “Opera Viva Barriera di Milano, the Billboard” is starting in a very delicate moment for the global community. Everybody’s life is constrained within specific rules, which are required for everybody’s safeguard. The pathways through the public space rarefy, are only paced by the primary needs: health, work, food; within this context, the art work interferes for a split second, in a fortuitous meeting. The artwork is appointed the hope, the opportunity and the task to release hints from which one can draw to pursue his/her own existential pathway.

Thus, from 12 March up to the end of the year, day after day are artists the world over alternating in the billboard site of piazza Bottesini roundabout, along the pathway that connects the social housing facilities of Barriera di Milano to the close market in piazza Foroni and will accompany the people in their everyday life in their obligatory ways, donating to everybody, with no discriminations.

Flashback has decided to inaugurate this new narration of Opera Viva Barriera di Milano, the Billboard 2020 edition (a project devised by Alessandro Bulgini and curated by Christian Caliandro) with Rubber Tire, First Lesson (2014) by the important Italo-Senegalese artist Maïmouna Guerresi and does it as a conscious gesture in these times of emergency, in the belief that the artwork, never as in this period, represents a delicate act of poetry that can accompany people in their everyday life.

Maïmouna Guerresi’s photograph Rubber Tire, First Lesson is parted of the M-eating series (which the authoress started in 2012), showing African men, women and children who are photographed individually first and then reunited in a convivial situation; instead of food, the table shows an object that recalls war, the conflict and which – in this context – sees its original meaning vanish to acquire a brand new, more intimate and daily one. In this case, the white painted tire is a scrap: a recurring concept in Opera Viva Barriera di Milano, a theme that crosses underground all its editions and constitutes a sort of founded core, which becomes a strange object of study for the lesson in progress.

An extremely useful lesson in this historical moment, a teaching that can suggest us the reed to utilize what we have already available, even the waste, to recreate our present, since the foundation of culture, thanks to which we nurture our humanity, is the freedom of spirit and the Ludens (editor’s note: the title of the 2020 edition) are all of us: fully free individuals, who are conscious we can act on the world, recreating it day after day, in any conditions, through creativity. 
On the background, you can read Bi-smi ‘llāh (“In the Name of God”), i.e. the initial part of the invocation by which every daily activity starts.

Maïmouna Guerresi work plays on this tension between the aggregation and the isolation that characterize the characters of the teacher and pupil girls, between conviviality and distraction: together and separated, these characters bring the game of reality to life.

Maïmouna Guerresi Italo-Senegalese artist, born in Italy. She has numerous participations to significant foreign Museums, such as the Stedelijk Museum Schiedam, the Smithsonian African Art Museum in Washington, the KIASMA Museum of Contemporary Art of Helsinki, the MACAAL Museum of Marrakech, IMA Institute Du Monde Arabe and the  Cultural Institute of Islam ICI in Paris, the National Museum of Sharjah and the  National Museum of Bamako; as well as to Festivals and Biennials, such as the  Biennale di Venezia, Documenta, Les Rencontres de Bamako, the  Dak’Art Biennial, Manifesta, 13th Biennial of Cairo and the ’International Festival of Photography of Bangladesh, Kyotographie, Kyoto, Japan. Furthermore, her works are part of large public collections such as the ones of the Smithsonian African Art Museum in Washington, of the LACMA Museum in Los Angeles and f the M.I.A Minneapolis Institute of Art. 

Opera Viva Barriera di Milano “the Billboard” ed. 2020
A project by Alessandro Bulgini
Curated by Christian Caliandro
1st Artist: Maïmouna Guerresi, Rubber Tire, First Lesson (2014), polypthyc 
From 12 March to 12 April 2020

With the support of Città di Torino
Under the patronage of Circoscrizione 6

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Opera Viva, The Billboard…Maimouna Guerresi

“This time, we will not meet under the poster, this time it will be a private journey to a public place” (A. Bulgini)

The 2020 edition of “Opera Viva Barriera di Milano, the Billboard” is starting in a very delicate moment for the global community. Everybody’s life is constrained within specific rules, which are required for everybody’s safeguard. The pathways through the public space rarefy, are only paced by the primary needs: health, work, food; within this context, the art work interferes for a split second, in a fortuitous meeting. The artwork is appointed the hope, the opportunity and the task to release hints from which one can draw to pursue his/her own existential pathway.

Thus, from 12 March up to the end of the year, day after day are artists the world over alternating in the billboard site of piazza Bottesini roundabout, along the pathway that connects the social housing facilities of Barriera di Milano to the close market in piazza Foroni and will accompany the people in their everyday life in their obligatory ways, donating to everybody, with no discriminations.

Flashback has decided to inaugurate this new narration of Opera Viva Barriera di Milano, the Billboard 2020 edition (a project devised by Alessandro Bulgini and curated by Christian Caliandro) with Rubber Tire, First Lesson (2014) by the important Italo-Senegalese artist Maïmouna Guerresi and does it as a conscious gesture in these times of emergency, in the belief that the artwork, never as in this period, represents a delicate act of poetry that can accompany people in their everyday life.

Maïmouna Guerresi’s photograph Rubber Tire, First Lesson is parted of the M-eating series (which the authoress started in 2012), showing African men, women and children who are photographed individually first and then reunited in a convivial situation; instead of food, the table shows an object that recalls war, the conflict and which – in this context – sees its original meaning vanish to acquire a brand new, more intimate and daily one. In this case, the white painted tire is a scrap: a recurring concept in Opera Viva Barriera di Milano, a theme that crosses underground all its editions and constitutes a sort of founded core, which becomes a strange object of study for the lesson in progress.

An extremely useful lesson in this historical moment, a teaching that can suggest us the reed to utilize what we have already available, even the waste, to recreate our present, since the foundation of culture, thanks to which we nurture our humanity, is the freedom of spirit and the Ludens (editor’s note: the title of the 2020 edition) are all of us: fully free individuals, who are conscious we can act on the world, recreating it day after day, in any conditions, through creativity. 
On the background, you can read Bi-smi ‘llāh (“In the Name of God”), i.e. the initial part of the invocation by which every daily activity starts.

Maïmouna Guerresi work plays on this tension between the aggregation and the isolation that characterize the characters of the teacher and pupil girls, between conviviality and distraction: together and separated, these characters bring the game of reality to life.

Flashback 2020…Ludens

Flashback 2020
VIII edition > Ludens

5 > 8 November 2020
Press preview, preview, vernissage > 4 November

h 11 > 20
Pala Alpitour > Turin > Italy

Each edition a news chapter that adds a new episode to the story of Flashback.
The eighth, in 2020, is inspired to the game of chess and, in particular, to the humorous science-fiction tale “Unicorn Variations” by Roger Zelazny.
Johan Huinzinga (author of the essay “Homo Ludens”) is the first historian who talks about Homo Ludens and culture as a complex of social phenomena. Huinzinga shifts the investigation into the daily manifestations of life and examines the notion of “play” as a cultural invariant, that is as a constant in cultural behavior of all peoples. His thesis come to inspire the situationist playful society “New Babylon” where Man, freed from the slavery of work thanks to technology, will discover a life in perennial travel through the regions of the Earth, always looking for new possibilities of experience; a wandering life in a society of nomads on a planetary scale; no longer Homo Faber but Homo Ludens.
The Ludens (Players) are those individuals who are fully free and conscious that they can act on the world, recreating it through creativity and free play. The foundation of culture, thanks to which we feed our humanity, is not the practical activity but the freedom of the spirit; thus Huizinga assigns to the human playful activities the capacity of being the driving force of art, literature, theater, law, science, religion and philosophy. They are wandering players, in this case, of the game par excellence: chess, a fil rouge in the history of art, from Nefertari’s Mortuary Chapel – Egypt, 1200 B.C. – to conceptual art, passing through Dadaism and Surrealism. Every Ludens knows that – within those 64 cases, which are as white like life and black like death – there is the whole spectrum a human being experiences in his/her existence. The game is life itself, because chess is a very complex game, of variable infinite dynamics, where the potential combinations are immense. The freedom of Man manifests in the infiniteness of such variable and in the chance to choose: every Ludens is given his/her “variant” in the game.