La Primavera di Quirra
Paesaggio post
bellico, dove il terreno è saturo di ogni forma di arma, dove i corpi dei
soldati si mescolano alle macchine in una grande danza della morte. Il Gioco della Guerra, sterile
esercitazione sui campi fertili. La figura di un uomo, un Pastore, si staglia
sulle macerie e guarda in lontananza la sua casa. Sguardo rivolto alla sua
terra violata che ancora esige di sentire propria, portavoce di una resistenza ostinata
che non accetta di consegnarsi a un potere violento, estraneo. La proiezione
del nido sicuro si leva allora come impossibile ideale, superando la
consapevolezza del terreno malfermo su cui è costruito, come un diritto che si
vuole a tutti costi affermare a dispetto della morte, e tuttavia si leva
inevitabilmente minato, distorto miraggio.
Questo
scatto, che appartiene ad una serie fotografica, non può contenere l’intera complessità
della questione affrontata, ma ne condensa l’assurdo e apre ad una riflessione, l’inconciliabile contraddizione
tra un popolo, quello sardo, che si tiene aggrappato al profilo antico
dell’isola con gli strumenti della tenacia e della diffidenza, e una forza,
quella del potere, che usurpa e calpesta, che addestra soldati per guerre
distanti e al belato della terra sovrappone il fischio dei proiettili inutili.
Così
che a Quirra, intorno al Poligono Sperimentale, in quelle zone che i pastori
non si rassegnano a lasciare, il gioco si fa serio e la vita che resiste è vita
contaminata dall’uranio, malformata per generazioni, malata di corpi estranei
che avanzano come l’ombra sulla terra assolata.
A
Quirra la guerra è finzione, è un esercizio di stile, ma
la morte è reale. A Quirra la guerra è un gioco simulato quanto lo sono i
soldatini di plastica, è illusione di un teatro potenziale, creato artificiosamente
e vestito di retorica. L’unica cosa vera è la morte che affligge la comunità. La
paura di andare contro i poteri forti, la ribellione che si tramuta in
autocondanna.
Questo
lavoro cerca di mettere a fuoco una problematica sociale attraverso l'uso dei
giocattoli come mezzo di indagine. Nasce così una riflessione nella riflessione
che erige il suo teatro sul piano infinito della metafora. Uno specchio e un non luogo.
La
serie fotografica inizia come un viaggio,
il primo scatto è una visione e le
seguenti sono una riflessione su di
essa.
The Spring of
Quirra
Post-war landscape, where the soil is saturated with every kind of weapon, where the bodies of soldiers mingle with the machines in a great dance of death. The Game of War, arid exercise on fertile fields. The figure of a man, a shepherd, stands on the rubble and look in the distance his house. His gaze turned to the earth that still requires to feel violated its own, a spokesman for stubborn resistance that refuses to surrender power to a violent stranger. The projection of the safe nest rises as impossible ideal, beyond the awareness of the unstable ground on which it is constructed, as a right that one wants to claim all costs in the face of death, and yet rises inevitably undermined, distorted mirage.
This shot, which belongs to a series of photographs, may not contain the full complexity of the issue addressed, but it condenses the absurd and open to reflection, the irreconcilable contradiction between a people, the Sardinian, held clinging to the Ancient Profile of the Island with the tools of the tenacity and diffidence, and a force of the power, which usurping and trampling, which trains soldiers for a distance war and at the distant bleating of the land overlaps the whistle of useless bullets.
So that at Quirra, around the Experimental Polygon, in those areas that shepherds are not resigned to leaving, the game gets serious and life that resists contamination by uranium, malformed life for generations, sick of foreign bodies as they progress the shadow on the sunny land.
A Quirra war is fiction, is an exercise in style, but death is real. At Quirra war is a simulated game as are the plastic soldiers, is a potential theater of illusion, artificially created and dressed by rhetoric. The only true thing is the death that afflicts the community. The fear of going against the great powers, the rebellion that turns into self-condemnation.
This work tries to focus on a social problem through the use of toys as a means of investigation. The result is a reflection in the reflection that builds his house on infinite plane of metaphor. A mirror and a non-place.
The photographic series begins as a journey, the first shot is a vision and the following are a reflection on it.
Post-war landscape, where the soil is saturated with every kind of weapon, where the bodies of soldiers mingle with the machines in a great dance of death. The Game of War, arid exercise on fertile fields. The figure of a man, a shepherd, stands on the rubble and look in the distance his house. His gaze turned to the earth that still requires to feel violated its own, a spokesman for stubborn resistance that refuses to surrender power to a violent stranger. The projection of the safe nest rises as impossible ideal, beyond the awareness of the unstable ground on which it is constructed, as a right that one wants to claim all costs in the face of death, and yet rises inevitably undermined, distorted mirage.
This shot, which belongs to a series of photographs, may not contain the full complexity of the issue addressed, but it condenses the absurd and open to reflection, the irreconcilable contradiction between a people, the Sardinian, held clinging to the Ancient Profile of the Island with the tools of the tenacity and diffidence, and a force of the power, which usurping and trampling, which trains soldiers for a distance war and at the distant bleating of the land overlaps the whistle of useless bullets.
So that at Quirra, around the Experimental Polygon, in those areas that shepherds are not resigned to leaving, the game gets serious and life that resists contamination by uranium, malformed life for generations, sick of foreign bodies as they progress the shadow on the sunny land.
A Quirra war is fiction, is an exercise in style, but death is real. At Quirra war is a simulated game as are the plastic soldiers, is a potential theater of illusion, artificially created and dressed by rhetoric. The only true thing is the death that afflicts the community. The fear of going against the great powers, the rebellion that turns into self-condemnation.
This work tries to focus on a social problem through the use of toys as a means of investigation. The result is a reflection in the reflection that builds his house on infinite plane of metaphor. A mirror and a non-place.
The photographic series begins as a journey, the first shot is a vision and the following are a reflection on it.
