Alessandro Caccuri

During the Con.divisione artist residency in Mola di Bari (italy) we were invited to explore the delicate balance between preservation and change, authenticity and artifice. Asking how we can recover the value of local histories while also addressing global issues affecting our society. The arrival at the Angevin Aragonese castle, the venue of the exhibition, presents an unexpected image: a bright ‘HOTEL’ sign stands out on the roof, immediately evoking a playful reflection on mass tourism and the uncontrolled proliferation of accommodation facilities. A message that creeps in, almost like an announcement audible from the terrace, inviting visitors to reconsider the relationship between territory, identity and globalisation. Ph: Alexandra kononchenko

During the Con.divisione artist residency in Mola di Bari (italy) we were invited to explore the delicate balance between preservation and change, authenticity and artifice. Asking how we can recover the value of local histories while also addressing global issues affecting our society. The arrival at the Angevin Aragonese castle, the venue of the exhibition, presents an unexpected image: a bright ‘HOTEL’ sign stands out on the roof, immediately evoking a playful reflection on mass tourism and the uncontrolled proliferation of accommodation facilities. A message that creeps in, almost like an announcement audible from the terrace, inviting visitors to reconsider the relationship between territory, identity and globalisation. Ph: Alexandra kononchenko

is a provocative artwork inspired by Antonio Gramsci's famous writing, inviting the viewer to reflect on the role of indifference in contemporary society. The installation unfolds in two distinct but interconnected phases. In the first, a monitoring system detects human presence, activating projections of texts about indifference accompanied by a soundtrack. This direct interaction challenges the audience to confront their role as passive observers or active participants. The second phase develops as a multisensory performance, where sound, light, and voice merge to evoke a profound sense of restlessness. This emotional climax embodies the frustration and urgency expressed by Gramsci when he wrote: "Indifference operates powerfully in history. It operates passively, but it operates." The work as a whole urges us to consider how apathy and disengagement can be forces as powerful as direct action in shaping our world. It invites each of us to reflect on our own role in society and the consequences of remaining silent in the face of injustice. Project developed with Jonni Bongallino and Alessandro Miracapillo. Ph. Alexandra Kononchenko

is a provocative artwork inspired by Antonio Gramsci's famous writing, inviting the viewer to reflect on the role of indifference in contemporary society. The installation unfolds in two distinct but interconnected phases. In the first, a monitoring system detects human presence, activating projections of texts about indifference accompanied by a soundtrack. This direct interaction challenges the audience to confront their role as passive observers or active participants. The second phase develops as a multisensory performance, where sound, light, and voice merge to evoke a profound sense of restlessness. This emotional climax embodies the frustration and urgency expressed by Gramsci when he wrote: "Indifference operates powerfully in history. It operates passively, but it operates." The work as a whole urges us to consider how apathy and disengagement can be forces as powerful as direct action in shaping our world. It invites each of us to reflect on our own role in society and the consequences of remaining silent in the face of injustice. Project developed with Jonni Bongallino and Alessandro Miracapillo. Ph. Alexandra Kononchenko

is a provocative artwork inspired by Antonio Gramsci's famous writing, inviting the viewer to reflect on the role of indifference in contemporary society. The installation unfolds in two distinct but interconnected phases. In the first, a monitoring system detects human presence, activating projections of texts about indifference accompanied by a soundtrack. This direct interaction challenges the audience to confront their role as passive observers or active participants. The second phase develops as a multisensory performance, where sound, light, and voice merge to evoke a profound sense of restlessness. This emotional climax embodies the frustration and urgency expressed by Gramsci when he wrote: "Indifference operates powerfully in history. It operates passively, but it operates." The work as a whole urges us to consider how apathy and disengagement can be forces as powerful as direct action in shaping our world. It invites each of us to reflect on our own role in society and the consequences of remaining silent in the face of injustice. Project developed with Jonni Bongallino and Alessandro Miracapillo. Ph. Alexandra Kononchenko

is a provocative artwork inspired by Antonio Gramsci's famous writing, inviting the viewer to reflect on the role of indifference in contemporary society. The installation unfolds in two distinct but interconnected phases. In the first, a monitoring system detects human presence, activating projections of texts about indifference accompanied by a soundtrack. This direct interaction challenges the audience to confront their role as passive observers or active participants. The second phase develops as a multisensory performance, where sound, light, and voice merge to evoke a profound sense of restlessness. This emotional climax embodies the frustration and urgency expressed by Gramsci when he wrote: "Indifference operates powerfully in history. It operates passively, but it operates." The work as a whole urges us to consider how apathy and disengagement can be forces as powerful as direct action in shaping our world. It invites each of us to reflect on our own role in society and the consequences of remaining silent in the face of injustice. Project developed with Jonni Bongallino and Alessandro Miracapillo. Ph. Alexandra Kononchenko

The video essay I LOVE MY LAND, Re"ects on the con"icting relationship that I have with my homeland of Apulia in Italy. I analyse the historical transformations that the ‘tarantella’ – a dance ritual to exorcise “hysteria” – has undergone through the ultra-commercialisation of its cultural elements. The work con- siders how much knowing one’s tradition and being aware of their identity can aect the relationship with their origins and with their own self

The video essay I LOVE MY LAND, Re"ects on the con"icting relationship that I have with my homeland of Apulia in Italy. I analyse the historical transformations that the ‘tarantella’ – a dance ritual to exorcise “hysteria” – has undergone through the ultra-commercialisation of its cultural elements. The work con- siders how much knowing one’s tradition and being aware of their identity can aect the relationship with their origins and with their own self

The video essay I LOVE MY LAND, Re"ects on the con"icting relationship that I have with my homeland of Apulia in Italy. I analyse the historical transformations that the ‘tarantella’ – a dance ritual to exorcise “hysteria” – has undergone through the ultra-commercialisation of its cultural elements. The work con- siders how much knowing one’s tradition and being aware of their identity can aect the relationship with their origins and with their own self

The video essay I LOVE MY LAND, Re"ects on the con"icting relationship that I have with my homeland of Apulia in Italy. I analyse the historical transformations that the ‘tarantella’ – a dance ritual to exorcise “hysteria” – has undergone through the ultra-commercialisation of its cultural elements. The work con- siders how much knowing one’s tradition and being aware of their identity can aect the relationship with their origins and with their own self

The video essay I LOVE MY LAND, Re"ects on the con"icting relationship that I have with my homeland of Apulia in Italy. I analyse the historical transformations that the ‘tarantella’ – a dance ritual to exorcise “hysteria” – has undergone through the ultra-commercialisation of its cultural elements. The work con- siders how much knowing one’s tradition and being aware of their identity can aect the relationship with their origins and with their own self

The project "I love my land "continues through the audiovisual performance FOR REAL NOT FOR ART, which unravels the video essay, transforming and decomposing it live into music, dance and color, while processing the feelings of loss and anger. Informed by peasant cultures where collective acts of exorcism, in the form of dance, were practiced to heal the pain of everyday life, the performance invites the public to set their body free and release tensions throughout the space.

The project "I love my land "continues through the audiovisual performance FOR REAL NOT FOR ART, which unravels the video essay, transforming and decomposing it live into music, dance and color, while processing the feelings of loss and anger. Informed by peasant cultures where collective acts of exorcism, in the form of dance, were practiced to heal the pain of everyday life, the performance invites the public to set their body free and release tensions throughout the space.

The project "I love my land "continues through the audiovisual performance FOR REAL NOT FOR ART, which unravels the video essay, transforming and decomposing it live into music, dance and color, while processing the feelings of loss and anger. Informed by peasant cultures where collective acts of exorcism, in the form of dance, were practiced to heal the pain of everyday life, the performance invites the public to set their body free and release tensions throughout the space.

This interactive video installation was developed in collaboration with Teddy Munyimani, a Zimbabwean activist, and the Dutch NGO Hivos. It is centered around the statement "We are no victims anymore" which reflects the activist's rejection of the dehumanizing label of victimhood and an affirmation of his agency. The project visualizes this statement through images sourced from mainstream media uploaded online. By doing so, it aims to bridge the gap between media narratives and activist perspectives. Using this statement as a starting point, the installation involves web scraping for photos from 2012 to 2022. These images, collected year by year, form a typeface that users can explore interactively with a mouse. Each year is represented by the photos uploaded during that time, showcasing the complexity of the situation through colors, imagery, and manifestations. Each pixel within the typeface corresponds to an image, which can be opened and explored. The project emphasizes that separating data from the stories behind it—and stories from the people telling them—requires moving beyond quantitative analysis. Instead, it advocates for a more qualitative and sensitive approach to foster understanding and shared knowledge. It also challenges conventional ways of quoting activists, asking: What if we no longer treated them as victims? What if we redefined the narrative around victimhood? What if we saw them as agents of change rather than subjects of pity? Ph: RoelBackaert

This interactive video installation was developed in collaboration with Teddy Munyimani, a Zimbabwean activist, and the Dutch NGO Hivos. It is centered around the statement "We are no victims anymore" which reflects the activist's rejection of the dehumanizing label of victimhood and an affirmation of his agency. The project visualizes this statement through images sourced from mainstream media uploaded online. By doing so, it aims to bridge the gap between media narratives and activist perspectives. Using this statement as a starting point, the installation involves web scraping for photos from 2012 to 2022. These images, collected year by year, form a typeface that users can explore interactively with a mouse. Each year is represented by the photos uploaded during that time, showcasing the complexity of the situation through colors, imagery, and manifestations. Each pixel within the typeface corresponds to an image, which can be opened and explored. The project emphasizes that separating data from the stories behind it—and stories from the people telling them—requires moving beyond quantitative analysis. Instead, it advocates for a more qualitative and sensitive approach to foster understanding and shared knowledge. It also challenges conventional ways of quoting activists, asking: What if we no longer treated them as victims? What if we redefined the narrative around victimhood? What if we saw them as agents of change rather than subjects of pity? Ph: RoelBackaert

This interactive video installation was developed in collaboration with Teddy Munyimani, a Zimbabwean activist, and the Dutch NGO Hivos. It is centered around the statement "We are no victims anymore" which reflects the activist's rejection of the dehumanizing label of victimhood and an affirmation of his agency. The project visualizes this statement through images sourced from mainstream media uploaded online. By doing so, it aims to bridge the gap between media narratives and activist perspectives. Using this statement as a starting point, the installation involves web scraping for photos from 2012 to 2022. These images, collected year by year, form a typeface that users can explore interactively with a mouse. Each year is represented by the photos uploaded during that time, showcasing the complexity of the situation through colors, imagery, and manifestations. Each pixel within the typeface corresponds to an image, which can be opened and explored. The project emphasizes that separating data from the stories behind it—and stories from the people telling them—requires moving beyond quantitative analysis. Instead, it advocates for a more qualitative and sensitive approach to foster understanding and shared knowledge. It also challenges conventional ways of quoting activists, asking: What if we no longer treated them as victims? What if we redefined the narrative around victimhood? What if we saw them as agents of change rather than subjects of pity? Ph: RoelBackaert

This interactive video installation was developed in collaboration with Teddy Munyimani, a Zimbabwean activist, and the Dutch NGO Hivos. It is centered around the statement "We are no victims anymore" which reflects the activist's rejection of the dehumanizing label of victimhood and an affirmation of his agency. The project visualizes this statement through images sourced from mainstream media uploaded online. By doing so, it aims to bridge the gap between media narratives and activist perspectives. Using this statement as a starting point, the installation involves web scraping for photos from 2012 to 2022. These images, collected year by year, form a typeface that users can explore interactively with a mouse. Each year is represented by the photos uploaded during that time, showcasing the complexity of the situation through colors, imagery, and manifestations. Each pixel within the typeface corresponds to an image, which can be opened and explored. The project emphasizes that separating data from the stories behind it—and stories from the people telling them—requires moving beyond quantitative analysis. Instead, it advocates for a more qualitative and sensitive approach to foster understanding and shared knowledge. It also challenges conventional ways of quoting activists, asking: What if we no longer treated them as victims? What if we redefined the narrative around victimhood? What if we saw them as agents of change rather than subjects of pity? Ph: RoelBackaert

This interactive video installation was developed in collaboration with Teddy Munyimani, a Zimbabwean activist, and the Dutch NGO Hivos. It is centered around the statement "We are no victims anymore" which reflects the activist's rejection of the dehumanizing label of victimhood and an affirmation of his agency. The project visualizes this statement through images sourced from mainstream media uploaded online. By doing so, it aims to bridge the gap between media narratives and activist perspectives. Using this statement as a starting point, the installation involves web scraping for photos from 2012 to 2022. These images, collected year by year, form a typeface that users can explore interactively with a mouse. Each year is represented by the photos uploaded during that time, showcasing the complexity of the situation through colors, imagery, and manifestations. Each pixel within the typeface corresponds to an image, which can be opened and explored. The project emphasizes that separating data from the stories behind it—and stories from the people telling them—requires moving beyond quantitative analysis. Instead, it advocates for a more qualitative and sensitive approach to foster understanding and shared knowledge. It also challenges conventional ways of quoting activists, asking: What if we no longer treated them as victims? What if we redefined the narrative around victimhood? What if we saw them as agents of change rather than subjects of pity? Ph: RoelBackaert