Mountain path CAI 401
Mixed media installation, 150x80x600 cm
During his residency, the artist noticed how the landscape around the pass was still marked by the morphological traces of a past in which the European borders were closed. After architectural and natural environment explorations documented through photography, he conceived an installation which origins derived both from his profound observation on the residues that testify the past war of the zone, and nowadays political issues. Therefore, the installation embodies three different temporalities: the past of the World War, the present’s celebration of a disastrous event, and the future regarding the recent European announcement about closing the borders to control migratory flows. The installation is purposely placed by the artist where the Italian and Austrian border, located just a few meters away, grasps the viewer attention. A series of objects placed on this mobile structure, decontextualized from their original location, create a sense of disorientation and strangeness. A barbed-wire found by the artist along the path is wrapped on the structure, together with festoons and flowers which decorated the main element of the installation. The writing “Happy birthday”, composed using some leftovers sewn by women from Timau, is both an ironic wish for the World War centennial celebrations and a warning to avoid dangerous political choices for the future. Moreover, this needlecraft composition is a direct reference to the ‘portatrici carniche’. During the World War battles these women used to knit while walking on the path to bring supplies to the soldiers, and this repetitive gesture helped them not to pay attention to the devastation caused by the war occupying their minds on the gesture itself. The artist’s gesture of moving the barbed-fire from the trenches to the custom house deals with linking two temporalities. If in the past the trenches were the places in which the war was physically fought, the border is nowadays a neutral place where the war is fought from an ideological perspective.
Three photos and offcut fabric, variable dimension
CMP A/F is an installation composed of a series of elements set directly on the ground floor of the tower, as if they were found by chance. The three photos produce a visual postponing game with the mountain path, visually connecting the tower to three places explored by the artist during his residency: the disused custom house, the mountain path and some houses of Timau. The offcut fabric, sewn by the women of Timau, is both a link to the aesthetics of everyday life and a reference to the installation composed by the same writing, which is set on the base of the path.
Filippo Minelli researches on landscape, politics and communication creating installations and performances documented through photography and video. Interested in landscape and the public sphere, his work is mostly addressed to challenge the role of identity and its narratives, both in physical and digital environments. Drawn towards border zones rather than Countries, he evolved his practice working with the aesthetics of protest, bringing politics to an anthropological and introspective level by decontextualizing the use of tear gas, reversing the function of flags, and borrowing slogans from the aesthetics of protest. His main interests are contradictions, as the grey area between the historical heritage and urban sprawl, reality and the representation of it, politics and its rhetoric, emergencies and the enforcement of power. Graduated at the Brera Academy of Fine Arts in Milan, his academic education went alongside unauthorized interventions in public spaces, characterizing his early artistic practice.