What would you feel if you were forced to abandon your land, your home, your affections to save your life? How would you feel thinking that the only way to survive is to start a journey from the uncertain outcome after handing all your savings to a human trafficker?
How would you feel thinking that the only way to survive is to start a journey from the uncertain outcome after handing all your savings to a human trafficker?
When dealing with immigration, it is often to talk about with a certain “emotional distance” as if there was no “real suffering affecting people,” but an uncomfortable problem to solve. Immigration is one of the most burning issues of recent years, in Italy (but not only).
A question that often politicals exploits for electoral purposes. Almost never people talk about immigration for human purposes.
We are talking about humans, people.
For this reason, I repeat the first question:
“Should you leave everything to save your life, how would you feel?”
What happens to others, and not to you, just for a chance, is ruthless, humiliating, and unjust.
If we look at the “immigration problem” as something directly affecting us, the prospect changes and we realize that it is not at all foregone the well-being that we enjoy every day.
The artistic installation of Nessuno Myoo and Kicca Igaly, entitled “Exodus,” faces this challenging theme.
These two talented artists develop this theme of mass displacement of humans directly. Through the “metaphor scenic,” they communicate injustices, exploitation, inhumanity, and hatred.
In particular, I liked the metaphor for the exploitation of despair for economic reasons, an aspect not only of “companions” but also of politicians: in the end, from a human point of view, they are not very different from others.
I appreciated that in the installation people are always close to telling how, in the darkest moments of life, people tend to help each other. Likewise, I liked the reference to the walk to places with uncertain contours, as the exodus is.
Upon arrival at the landing point, you can pick up the information NC, where the authors introduce in detail their art installation, illustrating their point of view and communicating the meaningful purpose of the art exhibition.
After a life of suffering and persecution, after a long and horrible trip paid at a very high price and with the ever-lurking death that has already taken many of them, they, rich only of their own want to survive, they came to the beaches of an unknown land. They have gathered them in reception centers that, in line with an optimistic prediction, have quickly become too narrow and suffocating to hold them all. And other places of welcome are not enough or will ever be enough for the biblical exodus that takes them to the civilized West. But even the West goes into crisis, seeks alibi, can not fully understand what is happening in the Mediterranean and fights to find impossible escape. The shift politician inaugurates the new reception center and boasts of the little that others actually have given. Meanwhile, refugees and immigrants are moving towards a long road that will lead them to an unknown future, seeking relatives or friends, or simply a job that allows them to survive again.
“At the origin of this new installation, called Exodus, there is a vision, small but powerful,
that which I have always had before my eyes every time I found myself listening or assist to debates
that in my judgment deal with the immigrant’s not easy question, or about immigration in general,
incorrectly mode and sometimes even instrumental mode.
It almost seems that all the evils of our society, unable to find effective solutions
to the problems that which from time to time appear to him, they have found the perfect scapegoat
in the dark threat of the foreign invader. The most grotesque reference and contradictory
that remains the huge amount of money that this real traffic of human beings generates,
and that filling the pockets of criminals who organize these crazy crosses of death, and criminals who
at the table with the “democratic” institutions they plan a lucrative welcome,
deprives of all fundamental rights and personal dignity…”
For a better experience, artists suggest:
Set the windlight of the “Quick Preferences” in the viewer to the
“[EUPHORIA] low saturation dull deposit ”
In graphics settings ( Preferences/Graphics/General…)
set an quality not inferior to the “high” and the “Draw distance”
not less than 500 m. As you please, activate as well
advanced modes dedicated to lights and shadows.