Opus incertum and Ius Soli installed at museo Madre Napoli

The Oreste will be back performance by Kulturscio’k Live Art Collective at museo Madre Napoli features an installation with pieces from Ius Soli and Opus Incertum. The Healing Process.

Oreste will be back. Exile and revolt of Orestes. Interacting with space and tragedy.

The works Opus incertum and Ius Soli by Giovanni Ambrosio are uncertain on the wall and on the ground. We intervene in space by building and deconstructing his art work. As we do with music. Sound. Video.

How can you intervene in a work trying to be spectators and then enter the work of others and inhabit it? And then leave it to its fate.

This also belongs to the characters of the tragedy who, after acting, “rest” in the destiny that has been assigned to them. The viewer has a truly documentary look at the performative action as a whole.

We actors are unimportant compared to the immense possibility of artistic action and tragedy. After the performance each of us lives his own life. We are brothers and sisters.You are artists. Musicians. Technicians. More.

Alessia Siniscalchi

Performance Oreste will be back from 18 to 20 November at 8 pm. Installation Ius soli and Opus Incertum during museum hours from 16 to 21 November 2022.

With Alessia Siniscalchi, Paul Spera, Phil St George, Giovanni Ambrosio, Maria Mazzella, Benjamin Sillon, Alessandra Guazzini Federica Clarizia, Imma di Lillo, Didier Léglise, Paulina Mikol. A Kulturscio’k live art collective production in partnership with the Madre Museum, the French Institute of Naples, Kulturscio’k Italy, Kulturscio’k France and Kulturfactory residency.

Photos courtesy © Imma di Lillo and Kulturscio’k.

Ultras Youth is now part of Mufoco collection.

A portfolio of 14 fine art prints by Fineart Lab Napoli has been delivered to the museum.

The Museum of Contemporary Photography had previously presented the group exhibition titled Who doesn’t jump up! Football, Culture. Identity, curated by Matteo Balduzzi, which is a reflection treating the game of football as an expression of both individual and group identity. An articulated exhibition project getting underway with the start of the European Football Championship and featuring Ultras Youth : Movimenti, densità, stratagemmi, posizioni: an installation  made of ink-jet prints and vinyl printing (about 40 photographs), two iPad showcasing digital pictures, stickers, one original ultras banner, one stencil, two videos, one audio footage and various ultras objects over two walls, two tables and the stained glass window at Museo Fotografia Contemporanea first floor. This site specific production  was  based on a translation of ultras supporters cultures into some documentary points of view: movements, density, archives, ploys, positions. And, of course inherently, youth. With the support of Fondazione Nuovi Mecenati.

Ultras Youth is part fo my documentary based photography works and I usually archive them under the label Argumenta (from Latin arguere, to prove), opening a wide range of ideas related to the uncertainty of depiction: archive as score, re-writing, readable/unreadable, fragments, representation as a temporary act, representation as a translation.

Ultras Youth Manifesto

1. Since the willing to depict a phenomenon is just not enough, Ultras Youth is primarily a research based photography collection. The research project is led by historian Sébastien Louis, whose presence defines a stable investigation field, never under the pressure of personal or intimate needs to depict a phenomenon. The alliance of scientific research and aesthetic practices design a wider project whose goal is the understanding of a culture.
2. Ultras Youth is a challenging work in terms of photography positions and in terms of ecology of images: which would be the right image able to investigate topics without putting a colonial and naif gaze ?
3. Ultras Youth offers the opportunity to build up a small as well as a modest and temporary cartography, on the edge of classic iconography, of a youth movement constantly expanding from the Mediterranean area and mutating according to the countries and cities in which it establishes its roots.
4. Ultras movement does not need any kind of monument, being itself a constant producer of monuments. But it might sometimes require the presence of photography as a tool to keep track of events and actions, in order to minimise the emotional waste due to ephemeral performances. 
5. My main interest focuses on operations : aesthetic, ethic and political operations.
6. Assuming that a movement finds its vis existendi in the effort released to be part of the movement itself, to observe the breaking points of orthodoxy is a leading criteria. I am mainly attracted by the ways in which Ultras go out of designed spaces (the curva and its masculine density is, by definition, Ultras primary space), when they put themselves in danger in regard to they own ideology, when they fall into contradiction during the identity definition process.
7. Since the curva is the space assigned for ultras groups staged shows (usually defined by classic terms choreography and scenography), how can we define Ultras’ performativity? 
8. Notes for a taxonomy of Ultras movement: movimenti, migrazioni, stratagemmi, posizioni, archivi. Michel de Certeau arts de faire: to walk, to collect, to show, to hide, to believe.

Prophecies and pronouncements in Sibyl Sessions by  Kulturscio’k live art collective at Museo della Moda di Napoli.

Open dress rehearsals Thu Jun 30th, Fri July 1st, Sun July 3rd 2022

The third chapter is a series of anxiolytic prophecies coming form my work Submit!, analysing the marketing literature aiming to intercept a huge reservoir of potential buyers: artists. They all want to emerge and they are ready to pay for any possibility to be seen by millions. A massive copywrited literature, sent by newsletters, constantly counts the time left before calls for proposal expire. A pressure on time shaped by countdowns and reductions for early birds. That is translated by a compulsive behavior for artists, filling forms, answering to calls, writing cover letters. Artists turns in chain workers as well as they are part of a market in which they can buy their possible marketing tools.

A selection of Ultras Youth with @sebastienlouiswriter is now on show at Museum of Mediterranean and Near Eastern Antiquities of Stockholm @medelhavsmuseet in a brilliantly curated exhibition on #football and #politics, among brilliant installations by researchers and image makers.

Starting from the collection We need no education (North Africa and Asia), the installation tells about strategies and ploys of ultras groupes to stay afloat in their societies: I can’t breathe, I do want to breathe, I try to breathe, how do I breathe? Ultras groups as a destituent power?

It is clear enough that ultras are not a classic political subject, no category seems to be appropriate to define their way to stay afloat in their societies. They are not feminist, not right wing, not left wing, not extra parliament, they are not anarchist, they are not libertarian, they are not progressive, but certainly one cannot say they are reactionary. They are just ultras. And no one can deny their ability to get into the public scene.

The installation is based on light boxes and framed pictures, with videos and original objects.

Press :

Medelhavsmuseet visar intressant utställning om fotbollskultu