In such a complex landscape, characterized by a strong tendency to diaspora of artists who migrate as soon as they can, foreign cultural centers are spaces of freedom, places to meet and engage with different perspectives.
There are many reasons why we have chosen Egypt, after Albania and Morocco, as the destination for this third phase of our comparative research.
A few days later, we returned to Tétouan—former capital of the Spanish protectorate, located southeast of Tangier, and home to the Institut National des Beaux-Arts, which was founded in 1945 and is now managed by the Ministry of Culture of the Kingdom of Morocco.
We went back to the roots of the social experiences that give shape to Tangier’s cultural ferment and we identified a constellation of projects in the association Darna.
Our research led us to Tangier, Morocco—second stop of our journey. This is the place where back in 2006, even before the Arab Spring started, artist Yto Barrada encouraged the creation of the Cinémathèque de Tanger—one of the most significant cultural centers in North Africa.
Have you ever been there? What does this space remind you of? How do you picture it in the future? Who would you like to meet? What would you bring here from your personal experience?
Even before starting the construction site for the renovation of the buildings, we decided to open the gate to meet the youths of the area, show the inside of the ruin carved into the rock, and share needs, ideas, desires.
As part of the research process, we are going to restore two state-owned properties, arranged on two floor, in the historic center of the city of Matera, declared a UNESCO World Heritage Site in 1993.
It was the first time I noticed that ruin. Among so many renovated buildings, converted into hotels, bars, and restaurants, I got struck by the potential of the neighborhood.
Our research starts from the desire to deal with artists’ initiatives that explored pedagogical experiences outside the designated places.
Outside the city centers in Albania, you can perceive the rural identity that still defines the country.
During an intense week, we met professors and students of the oldest Albanian public school.
After a year of distance learning, our research team is off to Albania.
Carlo shares his views on the relationship between the individual and the collective.
Eathan starts from Valerio Rocco Orlando’s methodology to describe South of Imagination.
In Angela’s hometown, young people perceive art in different ways.
Gaja highlights the need to produce new forms of being together.
According to Enrico, it is necessary to be brave and cross the limits of reality.