The Recovery Plan: Museo MA*GA: Vol. I

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

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


A research project of Black History Month Florence

by BHMF in collaboration with Simone Frangi

Opening Vol. I:

Raziel Perin: Tale of Tamarindo

3 October 2020, h.18

(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

3 October 2020 to 18 October 2020

The Recovery Plan @ MA*GA - Vol. II

Raziel Perin, A Tale of Tamarindo

Associate researcher: Simao Amista

Through his artistic practice - syncretism of drawings, symbolic voodoo, organic

sculptures with digital grafts and mixed media installation techniques - Raziel Perin

extends and re-appropriates rituals linked to the popular beliefs and the mysticism of his

birthplace, Santo Domingo, and the echoes and influences that have been filtered down

to him in Italy through the weft of his family's diaspora. The research for A Tale of

Tamarindo originates in the study of the history of Santo Domingo and an awareness of

some of the contradictions rooted in this society (as well as in Italy) such as the rejection

of Black inheritance and the demonization of practices related to popular cults born in


*The project is realized with the support of Ricola

The Recovery Plan_ Museo MA*GA

Text by Simao Amista

Mami, 2020.cassava, amethyst, sandblasted wrought iron.

In the Yoruba culture, and in many other American and non-American Afrodiasporic

cultures, the female deities that protect and support men and women are called Yabas,

from Iya: mother. In the matrilineal belly of many Africas an ancient knowledge has

nested for millennia. The Iyami are the feared and venerated ancestral mothers. Iyalorisa

are the women in command of the Ile Axé, the sacred temples of African religions in

Brazil. Iya, mother, is like anyone who turns to an older woman, who may not have given

birth to you, but who, respecting and carrying on traditions, takes care of the community

as she would with a child, and every day gives birth to the future. Feminine deities

embody every aspect of femininity: impetus, wisdom, procreation, sensuality,

abundance, courage and lightness. The women and men who worship, honor and

respect every aspect related to them. Mami Wata, the Vodun who holds the snake on

her shoulders is among the most revered in West Africa, and like Yemoja (from Yoruba,

the mother whose sons are fish), has followed her people on the infamous route of

slavery; thanks to them, human sons and daughters have remained clinging to life and

have found a way to rebuild another one beyond the Calunga Grande. Because like Iya

they protected them. Because in the wombs of women, like a precious stone, is kept the

secret of life.

Verja, columna, 2020. treated wrought iron.

As fire forges iron, some symbols can forge bonds with deities, they can create bridges

between material and immaterial. They can give an identity to the divine. In many

traditional African and Afrodiasporic cultures, symbols are used to identify Vodun or

Òrìṣà, Loa or spiritual entities of various kinds, as in Umbanda or Kimbanda in Brazil.

The Haitian Vevé are symbols that are drawn during rituals, they are symbols that

identify the Loa to which they refer, they are magic symbols, sacred symbols, they are

the language with which the serviteur communicates with his divinities. Iron is an

element linked to a Loa in particular: Ogun Ferraile. This deity was very important for the

Haitian revolution, it is important for every revolution, personal or community, political or

social. Artistic.

The Recovery Plan_ Museo MA*GA

A Sueño, 2020. fried cotton paper, lightbox.

The dream can be a state of the soul. Often, in many African traditions, it is said that in a

dream one's spirit can return to one's village, one's city, one's home. In the dream, spirits

and gods can give messages, suggest choices, dispel doubts. After certain rituals,

having wet your body and head with certain herbs and having eaten certain foods,

Babalorixà, Babalawo, Hounon, Mambo or Iyalorixà suggest to pay much attention to the

dream of the coming night, a door has opened, you must welcome the guest. The dream

speaks through sound, sensation, image; perfect ally of an oral culture that

communicates with every world to which we belong. Often it was through the dream that

the victims of the slave trade returned home, warming the hearts of their sons and

daughters, husbands, wives, fathers and mothers. Brothers and sisters. In the dream,

very often our Petit Bon Ange, as they say in Haiti, or our Orì, as they say in Yorubaland

and all its diasporas, communicate to us things in everyday life that we cannot grasp.

The dream is a way to see with our eyes closed.

Shelter, Symbols of protection, 2020. tamarind, USB drive, bristles, pigment.

African ritual sculptures contain a knowledge, readable only by those who understand

their non-verbal grammar, evident only for those who can read symbols and see the

invisible. The sculptures that Western people called, glimpsing only the surface,

"fetishes", are complex meanings carved in the wood from hands that have learned

movements that thousands of other hands before them had made. The representation of

the divine, the hidden, the immaterial. These objects are custodians of a wisdom

therefore, a philosophical/spiritual usb key that can be consulted only by those who

respect its tradition and ethics, by those who know its principles and follow its precepts.

To them offerings are made, these sculptures are not divinities, as an un-careful eye had

thought in the past, but they are "an antenna", an intermediary between the Orun and

the Aiyé, between the material and the immaterial. The Afrocentric traditions and

philosophies are well anchored to the past but are aimed at the future, knowing how to

move in time and space, because they are transmitted by the languages of men who live

in the present, and not engraved on immobile stones. Ogun, god of iron and innovation

is now linked to technology, because African gods do not observe their people far away

from a mythical past, but walk beside them, preceding them by a few steps.

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!