"At the Fingers of Identity, Contemporary Videoart from the Han Nefkens Foundation" presents works that address the theme of intercultural identity. Fifteen artists from different places in the world - the West, the Americas, Africa, Asia and the Middle East - propose sociological and cultural considerations from different points of view, through heterogeneous narrative languages. The works are selected from the collection of the Han Nefkens Foundation of Barcelona and from the Premio de Producción de Video Arte Fundación Han Nefkens - CAC Quito 2018. The project, conceived and curated by Giacomo Zaza specifically for the MAC of Lissone, was previewed at MUST of Lecce thanks to the support of UBI Banca.
"At the Fingers of Identity" it is an exhibition event that shows how much contemporary artistic research is involved in the cultural and social debate concerning the conditions of existence in the globalized world. The artists involved present reflections from personal and cultural points of view, sometimes very distant from each other, with dissimilar and varied narrative and expressive strategies. From this excursus of video-stories we can understand the urgency of placing the human being at the center of an investigation that involves the processes of identification and belonging, of identifying differences, of recognizing otherness. Being at the edges, as the title of the collective suggests, alludes to that condition of fluidity in which the individual definition is realized through relationships of comparison and negotiation with the neighbor or the different. The videos on display indicate, in a positivistic perspective, the direction of interculturality as a constructive matrix of the path of human emancipation, a perennially ongoing path.
The issue of the oppression of women in the war territories of ISIS is addressed with a documentary look from the video by Erkan Özgen (Turkey, 1971) Purple Muslin. Shirin Neshat (Iran, 1957) in Toobapropone, through the allegory of a tree, the resolution of tensions between men and women thanks to the transcendent and spiritual dimension. Maya Watanabe (Peru, 1983) in the video Liminal dwells on the genocides that occurred in Peru, dealing with mourning not only as personal pain, but also as an experience of the community. Arash Nassiri (Tehran, 1986) in Tehran-gelesci express, surrealistically superimposing the cities of Tehran and Los Angeles, the urgencies that move thousands of people to migration. Still on the migratory dynamics, Ramin Haerizadeh (Tehran, 1975), Rokni Haerizadeh (Tehran, 1978), Hesam Rahmanian (Knoxville, 1980) with From Sea to Dawn. Bárbara Sánchez Barroso (Spain, 1987) in Paradise overlaps the voice recordings of a migrant with images of symbolic value: man is willing to pay with the loss of his value certainties in favor of the hope of an individual freedom. The theme of freedom is also addressed by Zwelethu Mthethwa (South Africa, 1960) in Flex through the metaphor of effort and physicality, while the Soviet communist utopia is the topic of the intimate and biographical video Disappearance of a Tribe by Deimantas Narkevičius (Lithuania , 1964). Social issues are the subjects of the works of Araya Rasdjarmrearnsook (Thailand, 1957) Village Kid Singing, on the condition of seropositivity in Thailand, and by Gabriel Mascaro (Brazil, 1983) EBB AND FLOW, on physical disability in Brazilian society.
An in-depth analysis of Latin American video art is proposed by a selection of works taken from the 2018 edition of the Premio de Producción de Video Arte Fundación Han Nefkens - CAC Quito 2018. Five artists of nationality or Latin American origin testify to the liveliness of this cultural background.