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...A volte le immagini si annidano intorno ad un suono
(Sometimes images nest around a sound | Materials: fiberglass, varnish, texts | Dimentions: 1,3 m diameter)
Installation at the exhibition AndarXporte curated by ArtCityLab October 18th – December 1st ASP “Golgi – Redaelli” Palazzo Archinto, via Olmetto 6, Milano
link to catalogue by postmediabooks:
https://issuu.com/gianniromano2/docs/palazzoarchintoacademiaedu
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Words as sound-track
“Language is a tool that is embodied in each person by a peculiar music: a sound depicting a cross-over of identities and experiences. Every time we listen to person talking, within the discourse we perceive, by intuition, the speaker's implied story and we sense a vision of his personal dealing with the public context of language. With Glocary I investigate this border making language a living spot of encounter: language as a shifting tool that has to be worn and continuously re-invented. In particular, I focus on words as sound-tracks of a primordial invention embedded in the oral heritage.” Simona Da Pozzo
https://localingual.com
Sara adopting HAWICK in the frame of the VIR Viafarini-in-residence Open Studio.
Working on the book from the exhibition
PAYSAGES, INTERVALLES ET PAUSES
[ ħtikie ]
extrait de l'entrevue (C69) à GHASSAN S.S. ( Beyrouth 1937)
Liban, avril 2015
35'31'' Scandale. 35'32''
36'01'' Htikie ! Moi j'aime les provoquer! 36'06''
37'26'' Htikie, quand je dis htikie, les gens qui parlent tous les jours l'arabe parlé ne comprennent pas ! 37'33''
37'36'' Il y a cent ans les gens utilisaient htikie. Maintenant on utilise fdiha, à la place de htikie, C'est tout à fait différent. Dans la même langue. On est pas passé d'une langue à l'autre. Mais htikie vient du syriaque. Fdiha vient de l'arabe. 37'53''
38'06'' C'est une fantaisie. C'est une fantaisie que j'aime bien. C'est comme on choisit un sport, qu'on aime la natation plus que la course. C'est une fantaisie. Que j'adore. Je ne peux pas m'en passer. 38'22''
49'01'' Moi je suis contre l’électricité. Si je pouvais, je n'utiliserais jamais l'électricité. Jusqu'à ce point. Et quand on est arrivé ici, il y a 15 ans, j'avais un âne comme moyen de transport. J’avais acheté un âne ! Et je me promenais dans tout ce pays au dos d'un âne ! 49'19''
51'15'' Je suis contre le faire vite. Je veux prendre mon temps. En parlant, je veux prendre mon temps. En mangeant, je veux prendre mon temps. En me promenant, je veux prendre mon temps. Toute ma vie, je veux que ce soit... Que je prenne mon temps ! Cette habitude de courir que vous avez en Occident, c'est horrible ! Je suis rentré à cause de ça ! Autrement nous avions notre appartement, on était des rois en France ! Métro... Courir, courir, courir toute la journée pour prendre le métro... uu uuu uuu uu 51'52''
52'02 Htikie! 52'02''
52'45'' Moi je préfère une route avec milles trous, avec ces pins, avec ce soleil, aux routes de Toulouse où l'hiver on crève de froid et en été on crève de chaleur ! 52'56''
54'05'' Je suis fier d'être anti – anti – anti – anti – anti moderniste. 54'08''
Catramonaccia: senso di terraggina e di solitudine, mescolato di solito a un'indigestione.
Parola di Lidia Ginzburg usata nel “Lessico Familiare” di Natalia Ginzburg, pag 118 ed. Einaudi isbn 978-88-06-20305-4
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ISABELLE (Lebanon, 1963)
interview C64, Beirut, 24 April 2015
[ auːyːyː ] آوو
Auːyːyː is a precious friendship that has been irreversibly shattered.
Auːyːyː is a word that has accompanied Isabelle's life: through time, the meaning of the word has taken on contrasting connotations. Auːyːyː is a friendly complicity that has often made the difference between life and death, in Isabelle's case, during the war in Lebanon. The word originated in a house in the mountains where Isabelle and three friends, finally far from the slaughter of the war, expressed their joy for being alive. At the time Auːyːyː was the call the used to express « Hello! How are you? Glad to see you again! ». This complicity, later nourished by nostalgia during the years of emigration in France, was shattered under the weight of deception (The death of one, the racist ideas of another, the unsettling parenthood of the latter...).
"Les mots, qu'on utilise quand on parle une langue, ont gardé la mémoire de touts ceux qui ont contribué à la production de cette langue dans le passé... Dans un passé qui peut être extrêmement lointain, par ce que utiliser une langue c'est utiliser le souvenir de ceux qui ont forgé les mots."
«Vers un art de l'hypercontrole » Bernard Stiegler Conference à la Cité du livre, Aix en Provence mardi 16/12/2014 /// video youtube - 20'28''
In your own words
Participative action, Venaria Reale, June 2013 and september 2014
Glocary has been produced by Ex-voto (Association for Radical Public Culture) at the Reggia di Venaria thanks to the Writing aid by the INSITU network, in the frame of the META project.This project has been funded with support from the European Commission (DGEAC – Culture program).
