INFINITE DIONYSIUS

A case for a widespread and participatory “image in (perpetual) motion” art

Then suddenly he freed my hands
and my arms became wings,
when he asked me:
“Do you know summer?”
for one day, for one moment,
I ran out to see the color of the wind.
We really flew above the houses,
past gates, kitchen gardens,
streets then we slid down among valleys
in bloom where vines embrace olive trees.
We touched down there, where the day gets lost
looking for itself on its own,
hidden among the trees

Il sogno di Maria, Fabrizio de Andrè
Dionysus Sculpture By Mahdi El Ghomri – photo. Jelena Sucic, Archive CSRP Institute

When the CSRP Institute, with the support of Pascal Mayor, initiated the campaign to fund the work of creating Dionysus (or Bacchus as otherwise known) they were simply fascinated by Mahdi El Ghomri’s decidedly site-specific technique of creation capable of storytelling through compositions of branches and leaves; however, they did not imagine that the bust of vine trunks, ivy leaves, and remnants of wire mesh created by El Ghomri was also a composition of disciplines, stories, and people assembled around a representation of Bacchus contained in a photograph, a witness to a moment that has survived history.

The archaeologist Massimo Izzo, who was asked his opinion on the sculpture, perceived the knobby trunk of the Dionysian vine joined by the knots being capable of representing the importance of the vine, wine and symbols of the god perfectly within the historical context. In “Dionysus 1900 – 2024,” time takes shape and tells of the flowering valleys whose vines were invaded by powdery mildew and attacked by phylloxera, an aphid of North American origin that plagued those territories from the late 1800s until the 20/30s of the 1900s. As also in the Langhe [Piemonte, Italy], the territory where the writer comes from, the olive tree was one of the crops that replaced that of the grapevine. Almost as if the Apollonian had taken revenge with incorrect chemical weapons against the Dionysian.  

A 1900 “village” photo with the entire (male) citizenry posing to stand testimony as participants of the Carnival in Verscio [Canton Ticino, Switzerland], a bacchanalia with little wine in that unhappy year for the god Dionysus.

How did this carnival come to life? How could one have arrived at a reenactment of that photo that would go beyond that photo and reestablish a proper dialectic between Dionysian and Apollonian, between the rules of one and those of the other?
Certainly by running to see the color of the wind, as in Fabrizio de Andrè’s song, or as in a Hayao Miyazaki film.
But how does it take off to become a tangible experience beyond theory and dreaming?

If this text were an interview, one would have to ask the artist how he became a casting manager, but also a producer, and also a director, and how the collaborations were embedded, first and foremost with Jelena Sucic, but then with the myriad of people of the region and the production realities of that area.  So much has changed in the last 124 years, a change that perhaps the metal wire nets that wrap around the bust of Dionysus stand as a testament to. 

Those who participated in the (no longer all-male) carnival could be asked why the remaking of that photo was not simply the point of arrival, but a testimony to a transition and perhaps a new beginning, as was that original Pedemontese Carnival in 1900. Imagining it is probably because the Carnival of the rediscovered Bacchus could not stop there, plastered in Apollonian, frozen joy. The Dionysian Carnival has its own rules, shared as every anarchist knows, rules that lead to its necessary dissolution in order to be reborn in other forms: in this case dispersing in a trance rave “there where the day is lost” to search for themselves hidden in the foliage… 

Or perhaps it is more interesting to leave them the beauty of someday being able to tell their story from which other stories will multiply. 

We are left to reason and enjoy the ability of an artist who had to go through so many identities in order to leave his own narcissism on one side to metamorphosize it into one that is collective.

23.03.2024

Davide Oberto

(original in Italian)

Translated to English by Brianna Ruland

Brief Bio of Author Davide Oberto

Born in Alba (Italy) in 1970, he moved to Turin in 1989 where he studied Philosophy, Human Sciences and History of Cinema at the University of Turin. In 1999 he began his collaboration with the Torino Film Festival, where in 2005 he became curator of the Italian competitions (short films and documentaries). Three years later he created a new section dedicated to international documentaries in an attempt to introduce the most interesting and relevant films in Italy from a very specific cinematographic perspective: TFFdoc. From 2002 to 2009 he was programmer of From Sodom to Hollywood – Torino LGBT FIlm Festival for which he also curated several retrospectives. From 2015 to 2018 he was director of Doclisboa with Cíntia Gil and curated in 2019, again for Doclisboa, the retrospective dedicated to Jocelyne Saab. In 2022 he left the Torino Film Festival and now lives in Berlin as a freelancer trying to imagine new paths.

CALL – Nourishment Art Residency

A collective canvas:

Interconnectivity experience

26 August – 04 September 2024, Blenio Valley, Switzerland

Accepting applications until Sunday, June 2, 2024, via Google Form.

Premise

Imagine entering/becoming part of a space/organism and embodying ourselves in a fungal system or mycelium, a complex network of microscopic elongated cells (hyphae = us) with which the organism explores the environment and colonizes by networking the substrate from which it draws nourishment.

Nutrient sources must be sought, identified, and processed (through enzymes), so that they can be absorbed and contribute to the accumulation necessary for emergence (fungus or colony of fungi visible on the surface).

There are three main types of mycelium foraging behavior: saprotrophism, parasitism, and symbiosis. (choice/recognition).

The hyphae operate cohesively in synchrony, as they are now a mycelium (collectivity of one).

Preferred form of nourishment: beauty

Assimilation time: lunchtime

Accumulation area: the table of the former Cima Norma’s Pensionato, now Cima Città, interdisciplinary residency space

Expected emergences: 10 (1 per day)

Existence goal: to emerge from the substrate and spread elsewhere.

 
Nourishment Art

Welcome to our residency, a place where art and nutrition converge in a unique synergy. Here, twelve people from different backgrounds come together, united by a desire to create beauty and ask new questions. This art temple is a context for experimentation in which the daily meal becomes a shared experience, a work that unites us through methodology and collaboration. Keeping this atmosphere alive requires a constant and dedicated commitment from us all. 

Under the guidance of knowledge sharing, we find inspiration in fermentation, an ancient symbol of transformation and rebirth that speaks deeply to our human story. We also explore the intricate pathways of information processing, that help shape, and influence our culture. As constantly evolving individuals, we collaborate to build a contemporary community that thrives on the creativity and ingeniousness of the collective. We face challenges as an integral part of our journey, adapting to natural life rhythms in symbiosis with all living things, building mutual trust and transforming our experiences into a collective work of art, celebrating food, that is also interpreted as a metaphor for the pursuit of knowledge.

In this context, we explore the connections we imagine and that bind us to one another, creating bridges for the exchange of ideas and resources, in a harmonious synergy with the mystery of the daily meal. This becomes the focus of a shared ritual, a harmonious fusion of art and nourishment that elevates the spirit and invites us towards reflection. Like the flow of time, we immerse ourselves in an intricate web of moments that reveal the complexity and interconnectedness of collaborative being.

What we offer

In our residency, we offer an experience closest to being comprehensive, which includes room and board. We gather and use high-quality local ingredients to ensure the best as we work together. We have seven shared rooms located in a 19th-century boarding house. We have several rooms for workshops, a fully equipped kitchen, and a dining room where everyone can gather. Nearby, we have a beautiful quiet area at the foot of a pine forest at an altitude of 800 meters and a river coming from the slopes of the highest mountain in the region (Adula), where we can explore various collective care practices and advanced cultivation approaches.

What are we looking for?

We aim to better understand the complex relationships within our ecosystem, from macro to micro systems, with a focus on nurturing as an artistic endeavor. We promote trust and self-managed sharing within the space and its structures. Selected participants will be provided with guidelines (outline program) to follow for orientation during the residency, while on a daily basis, we will engage in creative cycles to create artistic installations. In an ideal scenario, everyone will benefit from the development of artistic biomarkers, biological markers reflecting the artistic experience, and new receptors for connecting with the surrounding environment. To enhance the collective experience, we will incubate the practice of a variety of tools from neuroscience (biohacking) to help us focus

Who is the target audience?

Members of art communities, as well as advocates of the Slow Food movement and alternative therapists. People into fungi, herbalism, biology, chemistry and social sciences. From graduate students, researchers to practitioners and experts that want to engage in a collective multidisciplinary creative process.

Location

The residency is located at Cima Città, the former Pensionato of the glorious Cima Norma Chocolate Factory in Torre, in the picturesque Valle di Blenio, Switzerland.

Expenses Excluded

Transportation expenses are the responsibility of the participants, as well as personal care items. We do not refund personal expenses or special contributions unless agreed upon.

Residency Dates

From August 26th to September 4th, 2024, with priority given to those who can possibly attend the residency program for at least 5 consecutive dates (to be indicated in this form in response to the question).

Available

Spots 12 (+ Visitors Supporters*)

Registration

By Sunday, May 26th, 2024 by Google Form here. 

Selection Announcement

Selected participants will be notified by end of June, 2024.

How will the announcement be made?

Initially via e-mail and personally (by Zoom), and then on the Future Fermentation IG platform.

Preparatory Meetings

Selected participants are expected to attend preparatory meetings (via Zoom).

Stakeholders

Curated by Matteo Fieni / Future Fermentation and Jelena Sucic / Creative Systemic Research Platform Institute. With the support of Cima Città. In collaboration with Camera F. Promoted by Fondazione La Fabbrica del Cioccolato.

Visitors Supporters*

In addition to offering sponsorship opportunities for entities interested in supporting our vision and research, we extend a warm welcome to special visitors. Guests can enjoy accommodation and lunch included for a daily rate to be agreed upon. Contact us to arrange your visit and experience our facilities firsthand.

Notes?

For any clarifications, please write to: nutri@futurefermentation.ch with the subject “Nourishment Art Residency.”

Other info?

For official updates, please refer to Future Fermentation Instagram account. 

Un Carnevale diVerscio dal solito

Il progetto Riportiamo Bacco al Carnevale di Verscio è un’iniziativa per un carnevale diverso dal solito da supportare e a cui partecipare.

Segue l’invito dell’artista Mahdi El Ghomri a diventare parte dell’opera!

124 anni dopo il carnevale di Verscio del 1900, il 18 Febbraio 2024 nella stessa piazza ricreiamo il corteo e la stessa inquadratura come da foto (questa volta però non solo maschi 👀) Poi scendiamo tutti insieme portando l’idolo nei vigneti di Agarta a continuare i festeggiamenti con musica e buon vino. Mi spiego: Nel Museo etnografico delle Centovalli e Pedemonte si può vedere la testimonianza di un carnevale a Verscio datato 1900. Nella foto il corteo di cittadini in abiti da festa segue un carro con sopra una rappresentazione di Bacco. Agli abitanti delle Terre di Pedemonte di uno due secoli fa era quindi chiaro il legame del carnevale con la tradizione pagana pre-cristiana, si può ipotizzare quasi un onda romantica – post illuminista. Bacco (o Dioniso per i greci) è un Dio ibrido dalla multiforme natura maschile e femminile, animalesca e divina, tragica e comica. Incarna nella sua ebbrezza l’istinto primordiale presente in ogni essere vivente; istinto che permane nell’uomo “civilizzato” e non espresso correttamente può sfociare in violenza. E proprio per quest’ultimo motivo la questione diventa rilevante per la nostra società. La cultura della violenza, la demonizzazione della follia e la paura del caos sono così fortemente radicate dentro ognun* di noi. Per questo quell* di noi che hanno il privilegio di vivere in un tempo storico di pace, non possono ignorare l’urgenza di riprogettare la propria vita e la propria comunità includendo la libido ed il piacere tra i valori fondamentali regolatori. Senza questa base non si può imparare il rispetto. Perché celebrare il piacere dell’ebrezza vuol dire celebrare una parte fondamentale di noi stess*. Vuol dire imparare ad avere rispetto. E pensate che questa è solo una delle innumerevoli sfumature dell’archetipo del dio loco.

Il progetto è interamente creato in collaborazione con Jelena Sucic e il CSRP Institute grazie all’amorevole ospitalità dell’azienda agricola bio Agarta di Cavigliano e grazie anche all’aiuto di chiunque voglia partecipare 👇 perchè grazie all’indispensabile contributo del CSRP si sta facendo una campagna di crowdfunding – per cui se vuoi aiutare a realizzare questo sogno questo è il link https://www.lokalhelden.ch/it/bacco-a… C’è del buonissimo vino della fattoria Agarta in palio per chi ci sostiene. La stessa fattoria dove si svolgerà l’after party del Carnevale per intenderci Canton Ticino”

Si trova anche in formato Reel su Instagram 😉

The Let’s bring Bacchus back to the Verscio Carnival project is an initiative for a different-than-usual carnival to support and participate in.

It follows the invitation of the artist Mahdi El Ghomri to become part of the artwork!

124 years after the Verscio carnival of 1900, on Feb. 18, 2024 in the same square we recreate the procession and the same framing as in the photo (this time, however, not only males 👀) Then we all go down together taking the idol to the vineyards of Agarta to continue the festivities with music and good wine. Let me explain: In the Ethnographic Museum of the Centovalli and Pedemonte you can see evidence of a carnival in Verscio dated 1900. In the photo, the procession of citizens in festive dress follows a float with a representation of Bacchus on it. To the inhabitants of the Terre di Pedemonte one two centuries ago, the carnival’s connection to the pre-Christian pagan tradition was thus clear, one can almost assume a romantic-post-Enlightenment wave. Bacchus (or Dionysus for the Greeks) is a hybrid god with a multifaceted nature-masculine and feminine, animalistic and divine, tragic and comic. He embodies in his intoxication the primordial instinct present in every living being; an instinct that lingers in “civilized” man and not properly expressed can result in violence. And for this very last reason, the issue becomes relevant to our society. The culture of violence, the demonization of madness and the fear of chaos are so strongly rooted within each* of us. Therefore, those* of us who are privileged to live in a historical time of peace cannot ignore the urgency of redesigning our lives and communities by including libido and pleasure among the regulating core values. Without this foundation, respect cannot be learned. Because celebrating the pleasure of drunkenness means celebrating a fundamental part of ourselves*. It means learning to have respect. And just think that this is just one of the countless shades of the archetypal loco god.

The project is entirely created in collaboration with Jelena Sucic and the CSRP Institute thanks to the loving hospitality of the Agarta organic farm in Cavigliano and also thanks to the help of anyone who wants to participate 👇 because thanks to the indispensable contribution of the CSRP a crowdfunding campaign is being done – so if you want to help make this dream come true this is the link https://www.lokalhelden.ch/it/bacco-a… There is some great wine from Agarta Farm up for grabs for those who support us. The same farm where the Carnival after party will be held to mean Canton Ticino.”

It can also be found in Reel format on Instagram 😉