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The Recovery Plan: Museo MA*GA:VOl. II

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The Recovery Plan_ Museo MA*GA

The Recovery Plan @ MA*GA

Young Gifted and Black Italians:

Binta Diaw, Victor Fotso Nyie, Francis Offman, Raziel Perin, Emmanuel Yoro

Gallagher

A research project of Black History Month Florence

by BHMF in collaboration with Simone Frangi

Opening Vol. II:

Binta Diaw, Nero Sangue

24 October 2020, h.16

(on reservation and subject to availability)

Starting from October MA*GA hosts an activation of The Recovery Plan, an itinerant

cultural center, founded by BHMF - Black History Month Florence and dedicated to

the promotion of Afro-descendent cultural productions in the Italian context.

During the four months of activity at Gallarate, The Recovery Plan @ MA*GA

presents, one after the other, five exhibition and research projects, carried out by the

artists Binta Diaw, Victor Fotso Nyie, Francis Offman, Raziel Perin, Emmanuel Yoro

Gallagher as the result of the first edition of YGBI - Young Gifted and Black Italians,

residency and training program dedicated to young Italian Afro-descendant artists

born from a collaboration between BHMF, OCAD - Ontario College of Art and Design

and The Student Hotel.


The Recovery Plan_ Museo MA*GA

Conceived as a collective and dialogic project, YGBI in February 2020 five Afro-

Italian artists to spend ten days together gathered in Florence working in the OCAD

studios. The studio experience was supervised and guided by international curator

Andrea Fatona, professor at OCAD, together with leaf jerlefia, curator and artist.

Each exhibition presented at MA*GA is accompanied by an Afro-descendant

researcher - Simao Amista, Jordan Anderson, Angelica Pesarini, Jessica Sartiani,

Patrick Joel Tatcheda Yonkeu - who will have the task of developing the conceptual

content of the exhibition with the artist. These collaborations will be assisted by

artist-researcher Alessandra Ferrini.

Thanks to the support of SACI- Studio Arts College International and the participation

of Penn State University and Oberlin College, the project is developed in parallel with

a series of lectures and online seminars addressed to university students.


The Recovery Plan_ Museo MA*GA

24 October 2020 to 8 November 2020

The Recovery Plan @ MA*GA - Vol. II

Binta Diaw, Nero Sangue

Associate researcher: Angelica Pesarini

Nero Sangue is an installation that reflects on the systematic violence experienced

by the black bodies of migrants and workers in tomato fields. The exhibition was

born from research that elaborates a link between the organicity of the tomato and

that of the black body. The latter, harvesting raw material, in conditions of extreme

precariousness and vulnerability, becomes part of a loop: a vortex that overwhelms

and engages physically and mentally in a state of "mechanical exploitation".

With Angelica Pesarini, an interest was developed in bringing out the intense

connection that unites the colonial, fascist Italian past and the current racial,

physical, verbal and psychological violence suffered by migrants today. The research

is sustained by a re-reading of the tragic events of recent years, which see multi-digit

numbers of migrants dead and killed by a system under the name of the Italian

Nation.

*The project is realized with the support of Ricola


The Recovery Plan_ Museo MA*GA

Text by Angelica Pesarini

"Nero Sangue" was born from an intense collaboration of exchanges and conversations

with the artist Binta Diaw.

At the center of "Nero Sangue" resides the Black Body, immersed in the logic of

exploitation and control in which labor in tomato fields evokes practices of modern

slavery. As James Baldwin states, the historical production of the Black Body is imbued

with pain and terror, it is the fanonian expérience vécue du Noir, an experience lived in a

state of chronic uncertainty, which sees the image of one's own body denied and

crystallized by the white gaze.

This context is framed by colonialism and fascism that dehumanize the Black Body by

portraying it immersed in vegetation, from behind, sitting, surrounded by cattle. Images

from which the will to show a supposed physical, mental and technological superiority of

the "Italian race" emerges.

The blood thus becomes a central element of the narrative: the shed and honored blood

of the "fallen", those who die to defend the race and to give Italy that aguishly coveted

place in the sun through the misappropriation of land and resources, the creation of

concentration camps, the use of torture and chemical weapons. Blood, however, is also

what unites and gives citizenship to black children born in colony, ius sanguinis, the right

to blood. Blood is, today, the exclusive element, the one that prevents thousands of

people born/arrived and raised in Italy from being citizens of this country.

And blood is also the blood shed by the Black Body, bent in the fields picking tomatoes,

bodies that die for lack of drinking water, for lack of health care, burned in fires caused

by dangerous situations in dilapidated housing, or for illegal working conditions.

Black, Body, Red, Blood.

The Black Body has historically shown us "fugitivity" (Moten and Harney) as a weapon of

resistance, as a means to break chains which are not only physical. The body is used as

a means to carve out their resistance. Escape, fight, poisoning, secretly spoken and

deliberately carved languages, self-inflicted mutilations: the strategies of black resistance

pass from the body that from organic matter becomes a political body on which to

inscribe indelible messages. A body under threat of constant loss, and yet, a body that

exposes itself and resists.

This is the legacy of our ancestors. The right to have a Body.

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