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LONDON
Flat 2, Ares Court, Homer Drive, Isle Of Dogs
E14 3UL London, UK

Studio
Almanac Studio
41 Acre Ln,
SW2 5TN, London, UK

Studio
Via Grimaldi n.152
95121 Catania – Italy

e-mail: giuseppelana2@gmail.com

www.bebocs.it

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    PASSAGGI

    Passaggi/Pasajes focuses on the phenomenon of mass displacement, a global exodus that affects the borders of many countries from North to South of the world. A phenomenon that has significant historical, political, and economic value, a complex phenomenon that is sometimes managed in a disputable manner or worse, instrumentalised for ideological or political purposes.

    By resorting to metaphor, Giuseppe Lana concentrates the comparison on a particular insect: the mosquito. By retracing the geographical analysis between migration and adaptation, this tiny being, like humans, moves in masses and is constantly searching for new areas. It moves from one place to another, forming enormous communities, colonies that migrate primarily for survival, but also driven by climate changes. Within the exhibition rooms of the IIC in Madrid, with the supported of the Galleria Giorgio Persano of Turin, the artist presents a series of blank pages dotted with small silent presences, a procession of insects that populate a virtual space, suggesting a transit that, in the apparent miniature scale, hides the gigantic and dramatic scope of a phenomenon that inexorably marks the fate of many people and corrodes consciences. The interplay between the parts, the use of metaphor to post an argument without revealing, and the subtle deception of fiction are all elements of a narrative that Giuseppe Lana offers to the viewer’s gaze, retracing a theme, that of migration, which has been at the centre of artists’ reasoning for some time. However, Lana takes a step back, does not offer reasons or seek solutions, but only delicately observes, limiting himself to looking at something that has enormous significance. He observes the process, collects information, senses the critical issues; the facts are there for everyone to see, they are in everyone’s daily life, yet they seem so distant, just an echo for many. This is why it is necessary to highlight, to bring to the fore; perhaps it is for this reason that Lana introduces the second element of the narrative, which is the luminous one, as if to signify the absolute need to ‘bring to light’, to facilitate vision, but at the same time to unsettle, to dazzle. The luminous elements of the installation proposed by the artist are also a sort of delimitation of space. They are both a source of light and a definition of a boundary; they are another metaphor and at the same time an oxymoron. They are an extension of the blurred outline. Thus, for Lana, rhetorical figures and formal outcomes are complex tools, just as complex is the object of his reflection. Alternation between lightness of form and gravity of argumentation compose a precise rhythm; they constitute the plot with which Lana weaves the story.

    The artist’s reasoning encompasses considerations of individual freedom, ideology, opportunity, the idea of the border as a limit or overcoming, reflection on coexistence and integration, tolerance, and collective responsibility. These are macro-thematic areas that enclose the most pressing current events and, at the same time, the drama of phenomena that hide individual stories and existences behind the numbers, often shattered by the cruelty of destiny. All this is a source of social and political argumentation, where politics constitutes a crucial aspect. It acts to give a sense of proportion to new flows of migrants in the future composition of global balances, it is responsible for measures aimed at achieving a redistribution of the population of a given country, or a means to implement particular demographic policies, often devoid of humanity. Lana is aware of how the phenomenon has become a real fight for survival. The need to confront the harshness of facts is filtered through art’s ability to speak through a veil that is not a cover but simply a filter that makes it possible to see brutality without being crushed by it. Passaggi/Pasajes offers an opportunity to think, suspends judgment, and triggers an attempt at emotional and rational sharing of the phenomenon of migrations. It does so with awareness, having a precise sense that it is the artist’s privilege to approach existence with a lightness that is not superficiality, but the strength to go down into the abyss and try to illuminate it.