photoThe photos are scattered across the floor. This chaos is completed by other scattered materials: stones, broken bottles, bits of wood, metal bars, rubber bullets, residues, etc. The spectator is simultaneously confronted with audio recordings made in Genoa during the big demonstration. When we approach the photos, we hear conversations, cries, and sounds of panic, the explosion of tear gas bombs and the motors of helicopters.
«The experiences of Genoa forced me to present the photos in this manner, in effect, the impact of perception could not be the same if these photos had been shown in the classical framing, as if they were on display. Presented this way, with an evident direct access, the distance between the looker and the image disappears. This mode of presentation appears to me to be more objective and honest, the visitor having to make his or her individual path through the photos. Furthermore, each person has a different pattern of movement: he or she must stoop to the ground to see the photos more closely, then choose how long he or she will spend on a photo, and whether to put the photo back in the same place. The photos scattered across the floor take on an important symbolic meaning; all the people who gathered during those days in Genoa were laid low by the images of Carlo Guliani lying on the earth, the images of demonstrators who were beaten and molested. The three hundred thousand people present were traumatized by these images and experiences.»*
The contents of these photos, moments that are emotional, tragic, political, but also aestetic and creative, are as diverse as the motivations of their authors, from the professional photographer to the amateur participating in the demonstration.
*) Quotes from Pino Scuro