nopasswd n°0

Entre dos Aguas é un essay video che si snoda intorno alle identità rizoma grazie ad una molteplicità di entrate. 

Questo lavoro parla di silenzio e di fratture della memoria come anche di sentimenti come la paura ed il coraggio parla anche di quello strano fenomeno di essere sempre percepiti come stranieri sia nel paese d'origine che in quello d'adozione.

Entre dos Aguas significa tra due aque: il Mediterraneo in Europa e l'Oceano e il Rio de la Plata in Uruguay.

Questo lavoro, prima che un'essay video, é una necessità personale, é una ricerca inprogress, un viaggio, un'attitudine dove l'identità come la memoria ed il ricordo é processo in divenire, attivo, cosciente e selettivo che di oggettivo ha davvero poco.

La dittatura militare Uruguayana a differenza di quella Cilena ed Argentina non é molto conosciuta.

Sono partita con una piccola videocamera e sono andata alla ricerca di testimonianze tra l'Uruguay la Svizzera e l'Italia. Sono cresciuta sapendo molto poco del passato di mio padre in Uruguay.

Cerco di guadagnarmi la confidenza dei miei interocutori per avere un accesso privilegiato non tanto alla storia quanto piuttosto alle storie, cerco di compiere un operazione di riapropriazione della mia propria identità.

Mi interessa capire come le macro strutture sociali (come l'economia o la politica) influenzino le micro strutture della vita quotidiana e della gente comune, costringendola alla migrazione ed imponendole traumi personali e collettivi.

Questo lavoro racconta e tenta di fare riemergere, anche solo per una lasso di tempo che si limita alla durata del film, una rete solidale che é stata spezzata, dei legami e le differenze di prospettiva tra coloro che hanno abbandonato il paese e coloro che invece sono rimasti: la nostalgia, l'idealizzazione della terra lontana e i gruppi sovversivi.

Restituendo la parola e dando la possibilità e la responsabilità della parola ho chiesto alla gente di diventare testimone della propria storia, dando uno spaccato parziale, lacunoso di un'epoca e di un'etica, attraverso una pluralità di voci.

Questo progetto si basa su una strategia assolutamente inaffidabile: la memoria inventata.

Per ricordare bisogna immaginare dice G.Didi-Hubermann, ebbene, per immaginare ricordi nemmeno vissuti bisogna forse immaginare un immaginario radicale.

Ho dato vita ad una tavola rotonda da restituire in pegno a chi mi ha offerto la propria storia. Desidero con questo lavoro creare uno spazio entre (tra).Si tratta di un film ingaggiato nel senso che mi ingaggia personalmente, se é vero che il personale é pur sempre politico. 

Fare del revisionismo storico non mi interessa ad ogni modo, credo sia più intrigante questionare la storia passata a partire da un punto di vista presente.

La possibilità di mostrare questo lavoro a Genova nel contesto di nopasswd é un occasione privilegiata dove l'idea di liquidità e di andi-rivieni tra Europa ed America latina é palpabile quasi fisicamente, essendo l'elemento dell'acqua il leitmotiv del lavoro: veicolo di salvezza per i rifugiati politici e di morte per i desaparecidos.

english version

Entre dos Aguas is a video essay based on rhizome identitys and specificly about my father's life, through several entrances.

This work is mostly about silence and memory's gaps; but also about feelings (more than each single person) such as fear and courage. Entre dos Aguas means between two seas: the Oceans and the Rio de La Plata in Uruguay and the Mediterranean sea in Europe. My father is born in Montvideo, Uruguay, already son of Italians refugees from fascism regime; while i, her daughter, i was born in Switzerland, thereafter he had also to quit his country due to the rise of a military dicatatorship. This is why this work is more then a video,it is an in progress and permanent reaserch, it is a trip, an attitude. The Urugayan dicatatorship is not really knewn and it still represents a sort of tabu. I want you to know that i am totally concerned by this work. The point to me, is to become aware of oneself's identity as an active and voluntary process in order to establish a nouvelle creolité. My reaserch about rihzome's identitys and multiplicity are, first of all, a personal need. The strange phenomena of being perceived always as a stranger (in the country of origin and in the current life's land) only because of having several identitiys dident stop, my father amoung others, to be engaged and figth for social rights in his country and city. Thus, i grew up knowing very few of my father past life in Uruguay. But it was a noisy silence fulfilled of sadness. So it was a hard work to break it and win his confidence that gave me a privileged access to this country's people's historys. the goal was to reappropriate my own identity.

This essay tells about the links of those who leaved the country and those who dident: the differents perspectives, the huge nostalgy and idealisation of the far beloved country, the integration issues in a new country...

Through the operation of giving the possibility and responsability to talk i asked the people to become testimony of their own life and history. I seek to elaborete the notion of testimony with the people. In fact, i guess there is a big difference between how the people who never leaved the county, and the ones who did, talks. i still find more interesting what they dont say thanwhat they say.

And we may percive this in the film: how people dont take any risk while talking, a certain fear that is an interior fear which surrunds us all the time. I really belive that it may give the idea of what life was in this period, what does it mean to live under a regime of repression. Anyhow, an historical revisionism is definitely not my goal, i guess that is much more interesting to question past history from the present tence. from the subjectivitys...

I restitue to you a partial mosaic and a plurality of voices in which i also take part.

Of course this is an engaged film, in the sense that it engages me personnally.

By this i hope to open up a space where questions may finally be asked and re-thinked critically. I guess in this work the notin of imaginary is really important. In fact, what can i offer to those who gave me thir testimony?

The relationship with my personal biography (which is a conscient strategy i integrate in my working methods) makes of Genoa a priviledged city and possibility to show my essay, since my family's emigration, escaping fascism, beginned in Genoa (where my grandmather comes from) infact, they first leaved the country by transatlantic and when they came back from Uruguay, escaping the dictatorship, they finally took the transatlantic and found themselves back in Genoa. This idea of liquidity and this movement of «comes and goes» ,

but also coming back and going back again and again, gives the titile to the essay as well as the larger projet it belongs: Vie D'Acqua (vie-d-acqua.blogspot.com).

I would also like to remind that the water element is of primary importance also because the majority of the desaparecidos were murdered and thrown in the ocean's sea but at same time the ones who could save thir lives escaped mostly with transatlantic, so thanks to the water element.

The idea for the festival is to made a kind of mindmapping and networking of all the citys belonging to this pathway.

I would like to start from the film projection, starting as a performative process, to work on the mindmapping and networking during the festival as a site secific action. I would also like to propose a round table around the projection's mains issues such as identity, migration, the possibility of taking social action etc. During the round table i would also like to make a small introduction about the format of the interview from (Pasolini to Obrist) and the video essay (Ursula Bieman).