{"id":27485,"date":"2021-12-22T15:56:17","date_gmt":"2021-12-22T14:56:17","guid":{"rendered":"https:\/\/www.albumarte.org\/sergio-racanati-na-na-n-frasteir-not-an-outsider-26-january-2022\/"},"modified":"2022-02-01T18:04:40","modified_gmt":"2022-02-01T17:04:40","slug":"sergio-racanati-na-na-n-frasteir-not-an-outsider-26-january-2022","status":"publish","type":"post","link":"https:\/\/www.albumarte.org\/en\/sergio-racanati-na-na-n-frasteir-not-an-outsider-26-january-2022\/","title":{"rendered":"Sergio Racanati | NA NA N FRASTEIR \/ non \u00e8 un forestiero | 26 January – 26 February"},"content":{"rendered":"\n

Solo exhibition of artist\u2019s films<\/strong>\n<\/strong>curated by Paola Ugolini<\/strong>\n<\/strong>26 january – 26 february 2022<\/strong><\/p>\n\n\n\n

The interest that AlbumArte has always shown in video art and artist\u2019s films, culminates in this very intense project, conceived as a deep social and political reflection thought and lived from the south of the world, through four filmic works that will be projected in loop from four different locations:<\/strong> IMMEDIATELY PAST\u00ac_or the great party is over, DETRITI_Salinas Grandes, DEBRIS \/ DETRITI_Puglia and L\u012bl\u0101<\/em>, a film made in India, Himalaya.<\/p>\n\n\n\n

Within the exhibition, the artist’s manifesto <\/strong>entitled Why I chose to live in the south<\/strong> will also be on display, as well as a large photographic installation entitled Debris\/Detrites_Argentina<\/em> composed of a series of 42 shots from which emerges a social, political, environmental portrait of strong denunciation without entering the dimension of reportage.<\/p>\n\n\n\n

The project is supported by IRI REAL ESTATE – Istituto Regionale Immobiliare Roma<\/strong> and realised with the support of Apulia Center for Art and Technology. Cultural partner: CAPTA (centro_arte_territorio_paesaggio_ambiente).<\/strong><\/p>\n\n\n\n

The four films:<\/p>\n\n\n\n

IMMEDIATELY PAST\u00ac_or else the big party is over\n<\/em><\/strong>Year 2016\n<\/em><\/strong>Duration: 105′\n<\/em><\/strong>Color film \n<\/em><\/strong>Sound track: KINKI VON BERLINKI<\/p>\n\n\n\n

DEBRIS \/ DETRITI Salinas Grandes\n<\/em><\/strong>Year: 2019\n<\/em><\/strong>Duration: 25′\n<\/em><\/strong>Color film, full hd, audio<\/p>\n\n\n\n

DEBRIS \/ DETRITI_Puglia\n<\/em><\/strong>Produced by Apulia Center for Art and Technology and\n<\/em><\/strong>CAPTA (Centro Arte Paesaggio Territorio Ambiente)\n<\/em><\/strong>Sound track: KINKI VON BERLINKI\n<\/em><\/strong>Year: 2019\n<\/em><\/strong>Duration: 180′\n<\/em><\/strong>Color film, full hd, audio<\/p>\n\n\n\n

L\u012bl\u0101,\n<\/em><\/strong>Sound track: KINKI VON BERLINKI\n<\/em><\/strong>Produced by KYTA, ARTISTIC RESIDENCY OF CONTEMPORARY ART,\n<\/em><\/strong>Kalga\n<\/em><\/strong>Year: 2016 \u2013 2017\n<\/em><\/strong>Production Location: ParvaC Valley, Himalayas, India\n<\/em><\/strong>Duration: 180′\n<\/em><\/strong>Color film\n<\/em><\/strong>Format: 4:3<\/p>\n\n\n\n

The basis of Sergio Racanati’s (Bisceglie,1982) artistic research focuses on an interest in the social sciences, history and popular culture, through an anthropological vision that investigates reality through the inconsistencies and unusual aspects of everyday life. In his cinematographic dimension, his work is staged without resorting to fiction scene, in a fragmented narrative approach, in which anthropized and non-anthropized landscapes converge, interspersed with fragments of encounters with the inhabitants, but taking distance from the documentary logic. The micro-stories that make up the films interpenetrate one into the other, outlining a human and social scenario in which the local dynamics describe the local population condition of universal fragility. His research is developed within the multitude of relationships, ideas and experiences aimed at generating connections with the fragile material of humanity, addressing the question of the spaces of the sensitive, of common and community processes. In this framework his practice looks at the public sphere and collective imaginaries as places of investigation. Intrinsic in his research is an interest in the social sciences, in historical events, in popular and mass culture, seen through an almost ethnographic lens. The artist operates in the field of the valorization of the historical-artistic patrimony, in the awareness that such field constitutes an organic whole of works and a collection of examples aimed at representing an archive model. The expositive project that will be realized at AlbumArte, is conceived as a social and political reflection thought and lived by the world of the South, meant as South of all the parts of the world, when it finds itself to be South because it is not in line with the canons of the economically richest areas in money and infrastructures, of the planet. The exhibition, which will include the continuous projection of four films by the artist from four different locations, aims to highlight possible cartographies of the post-global society, starting from the study of the territories located in these parts of the world, identifying their characteristics and addressing their social, political, ecological and urban aspects. Public space\/collective imagination is by its very nature a fragmented space, a space of different subjectivities, an arena, a battlefield, a space of plurality. In this scenario of trespassing, the artist tries, through artistic practice, to give an answer to impotence, precariousness, loneliness and desolation, interpreting them as consequences of the neo-liberal system and moving within three ideal areas: art, social sciences and systems of power. They are three fields independent of each other, but with moments of overlapping, of intersection. And these spaces of intermingling are the ones in which he intervenes, the ones that characterize his being inside things, inside life and inside the contemporary debate. The dimension of Racanati’s cinema-making is configured as an investigation around the discursive mechanisms that shape contemporary social experience and the question of the archaeology of the present in which unresolved narratives constitute fragments of a discourse on the impossibility of living everything and are delivered as archaeological finds to our own present time.<\/p>\n\n\n\n

The project is supported by IRI REAL ESTATE – Istituto Regionale Immobiliare Roma<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Realized with the support of Apulia Center for Art and Technology<\/strong><\/p>\n\n\n\n

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Cultural Partner<\/strong><\/p>\n\n\n\n

CAPTA (centro_arte_territorio_paesaggio_ambiente)<\/strong><\/p>\n\n\n\n

CAPTA, as part of a discourse on the ecology of the infosphere, has turned the absence of iconographic elements into a value, adopting no logo to identify itself.<\/p>\n\n\n\n

Thanks to Casale del Giglio for the wine tasting on the day of the opening<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
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Press release<\/div><\/a>\n\n\n\n
Images<\/div><\/a>\n\n\n\n
Invitation<\/div><\/a>\n\n\n\n
Biography Sergio Racanati <\/div><\/a>\n\n\n\n
Watch the video<\/div><\/a>\n<\/div>\n\n\n\n
  • \"\"
    Sergio Racanati, “DEBRIS\/DETRITI_ Argentina”, 2019, installazione fotografica, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, \u201cImmediately Past ovvero la grande festa \u00e8 finita”, 2016, AlbumArte, 2022, ph: Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, \u201cImmediately Past ovvero la grande festa \u00e8 finita”, 2016, AlbumArte, 2022, ph: Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, \u201cImmediately Past ovvero la grande festa \u00e8 finita”, 2016, AlbumArte, 2022, ph: Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, \u201cImmediately Past ovvero la grande festa \u00e8 finita”, 2016, AlbumArte, 2022, ph: Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, \u201cImmediately Past ovvero la grande festa \u00e8 finita”, 2016, AlbumArte, 2022, ph: Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, \u201cImmediately Past ovvero la grande festa \u00e8 finita”, 2016, AlbumArte, 2022, ph: Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, \u201cImmediately Past ovvero la grande festa \u00e8 finita”, 2016, AlbumArte, 2022, ph: Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, exhibition view, “NA NA N FRAISTER \/ non \u00e8 un forestiero”, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, exhibition view, “NA NA N FRAISTER \/ non \u00e8 un forestiero”, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, “DEBRIS\/DETRITI_ Argentina”, 2019, installazione fotografica, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, “DEBRIS\/DETRITI_ Argentina”, 2019, installazione fotografica, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, “DEBRIS\/DETRITI_ Argentina”, 2019, installazione fotografica, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, “DEBRIS\/DETRITI_ Argentina”, 2019, installazione fotografica, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, “Perch\u00e9 ho scelto di vivere a Sud”, 2017, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, “Perch\u00e9 ho scelto di vivere a Sud”, 2017, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, “Perch\u00e9 ho scelto di vivere a Sud”, 2017, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, \u201cImmediately Past ovvero la grande festa \u00e8 finita”, 2016, AlbumArte, 2022, ph: Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, exhibition view, “NA NA N FRAISTER \/ non \u00e8 un forestiero”, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, exhibition view, “NA NA N FRAISTER \/ non \u00e8 un forestiero”, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, “DEBRIS\/DETRITI_Salinas Grandes”, 2019, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte.<\/figcaption><\/figure><\/li>
  • \"\"<\/figure><\/li>
  • \"\"
    Sergio Racanati, “DEBRIS\/DETRITI_Salinas Grandes”, 2019, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte.<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, \u201cImmediately Past ovvero la grande festa \u00e8 finita”, 2016, AlbumArte, 2022, ph: Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Catalog printed for the exhibition “NA NA N FRASTEIR\/ non \u00e8 un forestiero” by Sergio Racanati, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, “DEBRIS\/DETRITI_Puglia”, 2019, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte<\/figcaption><\/figure><\/li>
  • \"\"
    Sergio Racanati, “L\u012bl\u0101”, 2016-2017, AlbumArte, 2022, photo by Alessandra Trucillo, courtesy AlbumArte.<\/figcaption><\/figure><\/li><\/ul><\/figure>\n","protected":false},"excerpt":{"rendered":"

    Solo exhibition of artist\u2019s films curated by Paola Ugolini 26 january – 26 february 2022 The interest that AlbumArte has always shown in video art and artist\u2019s films, culminates in this very intense project, conceived as a deep social and political reflection thought and lived from the south of the world, through four filmic works […]<\/p>\n","protected":false},"author":9,"featured_media":27483,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,39],"tags":[218,236],"class_list":["post-27485","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en","category-past","tag-videoarte-en","tag-art"],"_links":{"self":[{"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/posts\/27485"}],"collection":[{"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/comments?post=27485"}],"version-history":[{"count":17,"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/posts\/27485\/revisions"}],"predecessor-version":[{"id":27763,"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/posts\/27485\/revisions\/27763"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/media\/27483"}],"wp:attachment":[{"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/media?parent=27485"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/categories?post=27485"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.albumarte.org\/en\/wp-json\/wp\/v2\/tags?post=27485"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}