La libertà è una forma di disciplina

La libertà è una forma di disciplina, exhibition.

A duo exhibition curated by Giovanni Ambrosio for local art space Restanza, under invitation of local cultural association Vesuvio Adventures.

La libertà una forma di disciplina. Assomiglia all’ingenuità la saggezza. Ma non ora non qui no non ora non qui. Ma non ora non qui no non ora non qui. Giovanni Lindo Ferretti, Depressione Capisca

The Vesuvio Adventures association’s invitation to celebrate the idea of freedom takes shape in an exhibition presenting two works that echo both the exploration of the forms of being free and the protocol and participatory discipline to which they both resort. Giovanni Ambrosio’s Comizi d’amore 22 and Ljdia Musso’s Freedom is… are in fact based on creation devices that set up a space of co-presence in which matter is formed that subsequently takes shape in videos and photographs.

Freedom is participation

In homage to participatory devices but also to the idea that cultural spaces require and invoke participation, in the atrium of the building housing Restanza, a space is set aside for the collection of post-it notes on which visitors are invited to describe their own idea of freedom and participation.

Comizi d’amore 22, video installation

Comizi d’amore 22 was conceived as an introduction to I cantanti Alfa, the second lecture in the series of Conferenze Cantate at the Auditorium Parco della Musica in Rome, written by Giuditta Borelli, Mauro Gioia, Antonio Pascale and Anita Pesce. In the lectures, Mauro Gioia recounts, by singing, peculiar strands of the history of Neapolitan song, reworking his archive of vintage vinyls. This same archive gaves me the opportunity to work on stage photography as a documentary point of view on contemporary Neapolitan and Vesuvian music in particular.

In I Cantanti Alfa, the main themes—the relationship with love, the relationship between men and women, gender violence, and gender domination—prompted me to work on a series of video interviews based on Pier Paolo Pasolini’s Comizi d’amore. I rewrote some classic questions from the film and added new ones. The individual interviews, conducted in the studio, all follow the regular questions, among which are the following: Do you feel free?