Family Archaeologies
Home represents the autobiographical self, the idea that everybody builds of himself or herself. It is the image that we establish and develop during time, through a continous reshaping of the past which has either been lived or imagined lived through other stories or images.
Family home is above all the place of our origin. A place where generations have passed and lived. Itself has been transformed with us, who have been living and growing up in it.
The absence of both people and objects that are no longer present in the house, became malinconic presences, such as the red sofa mentioned by Goffredo in his 1934 pocket diary.
This project takes shape in an artist’s book and in form of an installation where photographes, objects, sound and video tracks of the inhabitants of the house are exhibited. It is divided into three parts that are in juxtaposition, breaking up temporal order.
Part one is an interior trip performed as a dream, where the past is mixed, through places and objects of everyday life and research of traces of living memory on the walls, to a recent present and vice versa.
These images are basically of family ties. However here are represented mainly mother and daughter,
as that relationship stands as our having been born and the birth itself, about which we don’t have memory of. The other relationship is that of grandaughter-grandmother.
The second and third parts are interwoven by postcards and pocket diaries.
They show the beginning of two love affairs both of which occurred in and out of those walls.
The first is Zelinda Evangelisti and Galeazzo Lorenzini’s, just after 1900 and Tosca Lorenzini and Goffredo Lenzi’s, in the Thirties.
Whereas nothing has been found of the love affair between Giacomo Evangelisti, decorator, and Maria Vivarelli, nicknamed “Bersagliera”, born in 1850, except the photographs portraying them each separately.
In fact they were the first inhabitants of the family home photographed.
Family home is above all the place of our origin. A place where generations have passed and lived. Itself has been transformed with us, who have been living and growing up in it.
The absence of both people and objects that are no longer present in the house, became malinconic presences, such as the red sofa mentioned by Goffredo in his 1934 pocket diary.
This project takes shape in an artist’s book and in form of an installation where photographes, objects, sound and video tracks of the inhabitants of the house are exhibited. It is divided into three parts that are in juxtaposition, breaking up temporal order.
Part one is an interior trip performed as a dream, where the past is mixed, through places and objects of everyday life and research of traces of living memory on the walls, to a recent present and vice versa.
These images are basically of family ties. However here are represented mainly mother and daughter,
as that relationship stands as our having been born and the birth itself, about which we don’t have memory of. The other relationship is that of grandaughter-grandmother.
The second and third parts are interwoven by postcards and pocket diaries.
They show the beginning of two love affairs both of which occurred in and out of those walls.
The first is Zelinda Evangelisti and Galeazzo Lorenzini’s, just after 1900 and Tosca Lorenzini and Goffredo Lenzi’s, in the Thirties.
Whereas nothing has been found of the love affair between Giacomo Evangelisti, decorator, and Maria Vivarelli, nicknamed “Bersagliera”, born in 1850, except the photographs portraying them each separately.
In fact they were the first inhabitants of the family home photographed.
Comments 0
Say something