During the last week of October, SRISA hosted a dynamic workshop entitled Invisible Borders, led by art critic and professor Pietro Gaglianò. This week long project investigated the definition of “border” and its relevance in personal and public contexts through group dialogue, exercises, and artistic investigations culminating in a presentation of artwork in a variety of contemporary mediums, on show in the SRISA Gallery of Contemporary Art from November 3 – 11, 2015.
The participants came up with some critical phrases and keywords during their exercises. Some of the keywords were:
- Emissione/Verbal language
Corpo/Body: as a limit, as a tool, as protection
 The project by Albien Alushaj focuses on the arbitrariness of borders determined by the national powers. The Nature, as a mute opposition in an unexpected and spontaneous way, creates a continuous passing of the concept of limit.
 Adriana Barrios and Barbara Justice present Between My Lover, an ongoing investigation using rope as a measurement of distance. The rope has become a type of documentation that represents the unique space that we share with someone we love.
 Gioia Bernalotti worked on the perception of the border between the State and the Church. The artist represents a kind of “Clerical State” in a society based on the rule of secularity: a reflection on the dogmatic impositions that compress individual lives.
 The work of Laelle Busch, Me. You. Us., examines the intersections of the 16 workshop participants and their individual paths to and from the meeting point that connect them as a group. Each path its own unique entity, transformed into an intricate, singular network when merged together.
 The QR Code (available on all smartphones equipped with the proper application) is for Simona Di Giovanni the negation and the synthesis of an invisible border conceived as a link. About my holidays on the moon is not an animalist denunciation, but comes from a private “delightfully personal” episode.
 Serena Gallorini focuses on the human hand and the way it passes, touches, rejects any borders. It is the first defense against the external world, but it is also the first welcome.
 For Federica Gonnelli, Terminus is the border stone; that stone thrown to tear down or change borders. Starting from a general thought, the artist reanalyzes her personal border in order to achieve a new awareness of such a condition.
 Andrea Harris’s work Left and Given is a video portrait of the psychological and physical process of immigration, shown through the constant action of embrace and release — an eternal fluctuation.
 The work by Meri Iacchi is part of the artistic project of active citizenship Qualcosa da dire (something to be said). The common good is a patrimony, but is deceitfully conditioned by political power. Public administrations should protect it instead of being hostage to private interests.
 Aryan Ozmaei presents a video shot in an ancient circular building in Yazd, Iran. The voices recorded by Google Translator play a poem by the mystic poet Molana (Rumi), difficult to be correctly translated in foreign languages: “Man na manam, na man manam” (sounds like: “I am not me, me is not I”).
 Elena Paglicci uses voice as a deeply personal trait, coming from the individual and expressed in the social space. To share the vocal extension is to enter into an intimate relationship, crossing over many borders.
 By meeting the portraitists around the Florentine monuments, Costabile Piccirillo investigates the difference between the definition of “artist” and its interpretations. A portrait bought and paid as time and as object, shows the first step of this research.
 Daniela Pitrè works always on the border between public and private. The performance Gift is Care speaks about an intimate place, where it is possible to pass the embarrassment of discovering “the other” by carrying out a gesture that provides care and does not refuse the worst.
 Giulio Rossi presents a diptych: a sidewalk seen from above and drawn with silver point is interpreted as the symbol of any conflict; a monochrome Mountbatten pink recalls the color used in military strategy by the namesake admiral, who believed such a color could make the navy fleet invisible.