Residency 2: Morphallaxis 01
Timescale (6 weeks): 10th January – 21 February 2011
Wonder Woman – Tutto quello che avrei voluto essere e non ho mai osato sperare, (Everything I always wanted to be and I have never dared to hope)
Candy Candy – Tutto quello che avrei voluto essere e non ho mai osato sperare, (Everything I always wanted to be and I have never dared to hope)
Photographer Marta Primavera has been analyzing the phenomenon of migration for several years, as an element that characterizes the history of the Mediterranean. The starting point for this survey is deeply rooted in her personal story: her great-grandfather emigrated to America looking for work, her uncle moved to Venezuela, and her grandparents moved from Southern to Northern Italy. Her aim at this point is to continue her research outside Italy, through the analysis and the development of new forms of dialogue. She seeks means of forming intercultural exchanges to aid her in becoming more responsive on the structures of contemporary fiction, which would then lead her to build an aesthetics that embraces and reflects upon aspects of life often considered in a second instance.
Marta’s itinerary is based in two main directions: identity and news item. Keeping an equilibrium between irony and complaint, the author develops photographic stories across the genres of portrait and self portrait. The project Tutto quello che avrei voluto essere e non ho mai osato sperare, (Everything I always wanted to be and I have never dared to hope), in particular interprets “the other” as an unreal and fictitious character. In this series she portrays herself playing the roles of heroes, night avengers, romantic adventurers, and presented these images as stickers, similar to the ones collected in the past. With the project Cafè Pipo, Marta made a commentary on the phenomenon of Nigerian prostitution in Italy, photographing scenes from the private lives of the prostitutes, resulting in an unveiling of their human dignity. The project traverses the places between the street to their houses, in an act of conscious, mutual playing game. In summary, Marta Primavera faces the contradiction of the real, she registers its changes.
Her current ongoing project, which she continued during the residency at ArtFunkl, is entitled Italy outside Italy and has the purpose of investigating, through photography, how the Italians experience existing remotely from their country of origin. From the end of the 19th century until the 60s of the 20th century, Italian history has been characterized by strong and continuous waves of emigration. Another of her photographic series’ Moved and Mutated Identities connects to this phenomenon, since emigration is caused by the discomfort that people accumulate in their land of origin. Following a move to a different country a syncretism is generated, first accepting a new cultural environment and, successively, creating a pristine alternative one.
In the context of ArtFunkl, Italy Outside Italy has become an archive of photographs of the faces and places of Italians who have built alternative roots in Manchester, but have also kept a strong sense of their original identity through associations such as the Association Dante Alighieri, Italian restaurants, Catholic Churches, Italian researchers in Manchester.