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The exhibitions

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INSURREZIONI

FOTOGRAFIE DI UNA PROTESTA

1° marzo 2024 – 2 giugno 2024

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Questa mostra fotografica tripersonale, seguendo un percorso non uniforme, racconta, a stanze alternate, tre tempi, tre proteste e tre modi di documentare l’insurrezione.

Tre sono quindi i simboli che identificano le storie e gli autori. Lo sguardo dello spettatore si muove al di là delle ideologie, accompagnato progressivamente verso la differenza che c’è tra pensare e fare qualcosa: la persona che prima contestava dal divano di casa, decide di mettersi in strada e cambiare la propria esistenza e quella degli altri. Ci si espone.

 

Questa mostra diventa dunque uno stimolo per riflessioni importanti sulle proprie posizioni esistenziali. Dalla street photography di Chris Suspect che documenta le proteste politiche a Capitol Hill, alla Rivoluzione degli Ombrelli Gialli ad Hong Kong di Enrico Gili fino alla resistenza degli Indiani d’America negli anni ‘70 raccontata da Angelo Quattrocchi: tre mostre per una visione del mondo eretica (dal greco αἱρετικός, «colui che sceglie») per interrogarsi sulle proprie responsabilità come membri di una comunità. 

                  Chris Suspect

                  Path to Insurrection
                  a cura di Jacopo Buranelli

 

Chris Suspect ha capito di essere un fotografo documentarista quando sono stati i suoi amici a farglielo notare: hey, your street photography is pretty good! Questa epifania ha alimentato la sua curiosità e lo ha incoraggiato a studiare i grandi fotografi. Oggi, Suspect si annovera tra i fotografi pluripremiati a livello mondiale. Specializzato nella fotografia di strada, gli scatti di Chris Suspect catturano il profondo e a tratti assurdo realismo del quotidiano. Come quel 6 gennaio del 2021 durante l’assalto a Capitol Hill, Suspect era lì al momento giusto nel posto giusto, sapeva e voleva fotografare quella storia: scendere in strada, incorrere nel rischio per raccontare la rabbia e l’esuberanza dei sostenitori di Donald Trump. 

 

Le fotografie di Capitol Hill fanno parte di un progetto più ampio. Quattro stanze tematiche seguono un percorso cronologico, come i capitoli di una saga: Election Night, 4 Years of Protest, Biden Wins, January 6 - Epilogue (Biden inauguration). Chris Suspect ha definito frenetico il clima di quel giorno, tra gas lacrimogeni, la preoccupazione di essere identificato come media - e quindi nemico di Trump - e il desiderio di testimoniare un evento dalla portata assolutamente inedita.

                  Enrico Gili

                   YELLOW! A PACIFIC REVOLUTION BEHIND AN UMBRELLA

                  HONG KONG 2014 – 2019
                 a cura di Patrizia Bottallo

Cosa significa un ombrello giallo a Hong Kong oggi?

“La rivoluzione degli ombrelli”, una protesta pacifista che diventa un atto rivoluzionario.

I cittadini di Hong Kong, ex colonia britannica, chiedevano a Pechino di rispettare la promessa di mantenere un sistema politico pienamente democratico con diritto di voto alle elezioni. Decine di migliaia di manifestanti hanno occupato per giorni la metropoli asiatica al grido di: "Vogliamo la democrazia e il suffragio universale". La risposta del governo di Pechino alle proteste pacifiste durate mesi è stata la repressione. I manifestanti hanno usato degli ombrelli per proteggersi dallo spray al peperoncino e dai gas lacrimogeni della polizia, l’ombrello icona mondiale della protesta è diventato così un simbolo politico di resistenza.

I cittadini bloccarono le arterie principali del centro finanziario di Hong Kong. Stampa, tv e social media trasmettevano in diretta immagini surreali di immensi viali deserti e piazze puntinate di tende da campeggio, brulicanti di persone munite di ombrelli e cartelli. Defraudati dai mezzi legali per esprimere la propria voce, i cittadini si inventarono un nuovo linguaggio di protesta fatto di simboli e colori.

 

Enrico Gili è un fotografo italiano che ha vissuto molti anni ad Hong Kong e ha documentato dal vivo le due proteste avvenute nel 2014 e nel 2019. Vivendo questi momenti sul campo è riuscito a catturare alcuni momenti salienti utilizzando uno sguardo giornalistico, senza pregiudizi, ma con l’intento di lasciare una traccia di quello che è sicuramente diventato un momento storico da ricordare. Queste fotografie raccontano con garbo e eccezionale sensibilità la genesi di una lotta per l’emancipazione democratica e più in generale contro l’oppressione.

                  Angelo Quattrocchi 

                  Wounded Knee - indiani alla riscossa
                  A cura di Lapo Simeoni

WOUNDED KNEE Indiani alla riscossa è un racconto di attivismo che intreccia fotografie, documenti e testi dell’occupazione, dell'assedio e della difesa di Wounded Knee, villaggio sperduto nella riserva Indiana. Nel 1973, Quattrocchi viveva a San Francisco, dove lavorava per L.A. Free Press e per The Barbour, un giornale della città. L'ambiente era underground, ricco di scrittori, musicisti e artisti, caratterizzato da una vivacità straordinaria. Nei primi mesi di febbraio di quell’anno, venne a conoscenza che i nativi americani della riserva di Wounded Knee volevano ribellarsi agli abusi subiti. Decise così di recarsi subito nel Nord America, fino alla riserva indiana, per documentare giorno per giorno gli eventi. Presto, questo si trasformò in un'occupazione contro l'assedio degli americani.

 

Angelo Quattrocchi prende posizione a fianco delle comunità indigene coinvolgendo lo spettatore nella cronaca giornaliera della loro resistenza sul territorio. Nel dettaglio, espone le richieste dei nativi, i negoziati con le autorità statunitensi, lo stato d’animo degli occupanti e le reti di supporto esterno che si sono attivate a loro favore. Furono settanta giorni di guerra, in cui pochi guerrieri, con qualche vecchio fucile, combatterono contro mille agenti della FBI, la polizia Indiana, la CIA e i carri armati. Il grande momento (tutti i giornali del mondo ne parlarono) in cui gli indiani voltarono pagina e storia, buttandosi alla riscossa.

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TIME SQUARE

Art in the square transcends time

1 December 2023 – 31 March 2024

The square: the place of life, of stratification, the fulcrum around which the city is built, the place where people meet, the agora, the place where time collapses.

Time: the element that creates the conditions for change, for stratifications.

Art: the constant that resists, that flows through the centuries.

Life: the unexpected, the friction, the change.

The square can be defined as a free space, limited by buildings. In all historical eras the square has been a place and center for citizens to meet for political (rallies, parliaments), commercial (fairs, markets) and religious (processions, sacred representations, churchyards) reasons.

In this specific case, the square is a metaphor for the meeting of humanity, in the square buildings and people confront each other, the square is an ancient place and, at the same time, it is the expression of the most evident contemporaneity. Surrounded by stratification, our squares are the result of hundreds of years of urban planning and building choices and at the same time they are the place where citizens meet for the most varied reasons. In the squares, life and its inconsistencies manifest themselves: people are those who transform spaces into places, spaces that transform from geographical entities into socio-cultural entities.

The exhibition takes inspiration from a specific square for its name Time Square, where the word time and square collide and are recomposed in new meanings. In particular, the American square is the clear symbol of aggressive modernity and humanity in transformation. The square is therefore the starting point to tell the story of the connection between art, the history of art, and contemporary everyday life, disrespectful and redundant but still a symbol of the bustle of life.

Thus large advertisements cover buildings, transform atmospheres, wedge themselves into history, overlap with architecture, showing in stark contrast the tiring path of time studded with human fragility.

“The most beautiful thing in Florence is McDonald's” stated Andy Warhol at a time when the culture of critical consumption had not yet spread and the aim of pop art was to undermine an art system that was not very open to the world of fruition. mass. The most beautiful thing about art is the phenomenon of "recontextualization", the works day after day, year after year, century after century, find from time to time their new channel of communication, their new contemporaneity because the work does not it exists if not connected to its user, to humanity, to life. The new contexts impose a transformation of meaning and interpretation on the work.

The exhibition, conceived by the artistic director Alessandro Bulgini within a program aimed at creating the manifesto of intent of Flashback Habitat, aims to investigate the connections between art and life, exploring frictions and convergences, specifically between advertising signs - from those of It to those of McDonald's - and the art which, with an important group of works from the fourteenth to the twentieth century, dialogues, clashes, compares, transforms.

Each of the sixteen rooms of the exhibition tells of a hypothetical square.

For each square, on one side an unlit sign in cold, minimal white representing modernity, on the other a work on a painted wall with clear references to the history of art. Each color is part of a tonal spectrum specially selected by the landscape architect Paolo Genta to represent the cultural stratification of public space.

An exhibition conceived as a match, a challenge, a comparison, an unanswered question born from the need to become aware of our role in everyday life and our responsibility for the reality that surrounds us.

The exhibition was created with the same poetic approach that characterizes our idea of Habitat where excellences are compared and strengthened in their stratification. It was made possible thanks to the friendship with Paolo Genta, a brilliant architect and landscape designer, and Roberto Spiccia, an excellent craftsman, both of whom made their sensitivity and knowledge available to make the work complete.

Fragments of stories from the Children's Institute of the Province of Turin

A better life.

Fragments of stories from the Children's Institute of the Province of Turin

curated by Alessandro Bulgini

in collaboration with Città Metropolitana di Torino

The project presented at Flashback Habitat in Corso Giovanni Lanza 75 in Turin, whose title is A Better Life. Fragments of Stories from the Institute for Children of the Province of Turin is not to be considered an exhibition but rather an artwork and an act of love. A. Bulgini

 

 

The project aims to give voice to that multitude of worlds that have intertwined in the halls of the structure, a former orphanage in Turin, through glimpses of the stories of some of the protagonists who, firsthand, have experienced that place like the children, now adults, the nannies, the employees. The exhibition, curated by the artist and director of Flashback Habitat Alessandro Bulgini, aims to be a collective work, a choral work where history, emotions, art and life intertwine. An exhibition that tells intimate and personal stories, but incredibly universal because they are linked to concepts that touch us closely such as birth, family, identity, through original fragments, collected thanks to the collaboration of those who were there at the time, documents recovered in the historical archives of the Province of Turin and direct testimonies. The exhibition aims to be a complex, human, social and above all artistic fresco, which enhances everyone's lives by making them works of art, in the spirit and poetics of Flashback Habitat.

 

The exhibition is spread over the rooms on the third floor of Pavilion B in Corso Lanza. Each room wants to be a microworld where you can immerse yourself and enter the stories told. Personal and universal narratives at the same time, collective works that speak of life. Each room consists of audio-video portraits of the "natives" who answer the question "Can you tell me?" and they do it in profile: a position that suggests turning outside, elsewhere or perhaps towards another self. The talking portraits are accompanied by components dating back to a photographic exhibition on site set up when the orphanage closed. Finally, each room is enriched with a map-story with stratifications of meanings thanks to photographs and documents from public and private archives.

 

The IPI, inaugurated in 1958 by President Gronchi, every year hosted about three hundred boys and girls awaiting adoption, often born in corso Lanza 75, and then given up for adoption, generally before the age of three. Today many of those children, who have become adults, frequent the place and the activities of Flashback Habitat, recognizing their origins, their first home in Corso Lanza, enriching the new life of the place itself with stories and emotions.

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works by local artists are integrated into the ecosystem.

Vivarium [der. from Latin Vivo] is a project born in 2022, when Flashback entered the spaces of Corso Giovanna Lanza, a complex abandoned for ten years, giving life to Flashback Habitat, Ecosystem for Contemporary Cultures.

The powerful 9,000m2 green area hosts Vivarium, an artistic park in progress, alive and in constant metamorphosis. The works of art are inserted into the space to remain and "take root", giving life to a harmonious fusion where everything that conforms comes from the dialogue between the artist and the habitat. In the natural environment composed of history and people, Flashback adopts the works that artists leave in the ecosystem's care.

 

The first work to be included was Roots pipeline (2022) by Francesca Casale, a site-specific olfactory installation of 60 meters of pipeline, a symbol of metamorphosis of the roots that nourish the place and create a profound territorial history, while the smell of talcum powder takes us back to the original spaces, those of the orphanage of the Province of Turin. Francesca Casale is an artist, herbalist by training and specialized in olfactory art. His artistic research focuses on the relationship between the visible and the invisible. For her, reality usually has a smell and recreating it is nothing more than searching for it in the unconscious.

 

In April 2023, Sedie nello spazio (1995) by Fabio Cascardi was also added, an installation in steel and anti-noise paint. For this sculpture the artist chooses to give new life to waste or recycled materials, chairs adapted and extended in height, take on new, almost surreal values, capable of transmitting completely new messages and meanings.

Fabio Cascardi attended the Scenography and Sculpture courses at the Albertina Academy in Turin and already during his academic period he adopted research and experimentation parameters with plastic materials, including expanded polyurethane which allowed him to share and develop a long collaboration with the artist and master Piero Gilardi.

 

Mushroom Forest (2023) also arrives in September with the artist Michel Vecchi, who using wood and trunks recovered from the park, gives life to colorful mushrooms of surprise, magic and curiosity. There is no forest without the scent of mushrooms, there is no forest that does not convey the sense of growth and protection. Trees and mushrooms, like brothers and life companions, nourish and care for each other. Each plant has a history and a soul imprinted in the wood. Each Michel mushroom has a special power, in the stem and below, at the base, a spiral of copper and aluminum turns which transmits and conducts this power to the people and places where it is placed.

Michel Vecchi is an artist from Aosta Valley who lives and works in Ibiza.

 

Finally, Luisa Raffaelli recently completed the work Tout se tient (2023), a structure that acts as a harness for a specific area of the park. The metaphorical protection is made up of innocent tubes that convey a sense of care, protection and safety, colored in gold to underline the protective function. Everything is contrasted with the access to that point which instead appears like an intricate cage, while a long bamboo cane painted blue seems to carry water to quench the thirst of the earth. This contrast arises from Raffaelli's reading of the experience of the orphanage, in which welcome, closure, protection and solitude alternated according to the artist's reading.

Luisa Raffaelli is an artist and architect from Turin who works with photography, drawing and video, often combined in an installation dimension. He has worked with several Italian galleries, exhibiting in public and private spaces.

Vivarium

Artworks in the park

2022 - ongoing

Friday, Saturday, Sunday

h. 11-21

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