La Primavera di Quirra - Esilio
Digital Photography, Political / Social, 70x44cm
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.
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