The project, conceived specifically for Castel dell’Ovo, features three large-scale works in which the key theme is the artist’s long-standing research into the concept of otherness, or rather the knowledge of ourselves as acquired through relationships and encounters with others. Video has been chosen as the most-suited medium of investigation and observation of reality, constructing images that are both poetic and political.
In the video, vedonelvelononvedo, which gives the exhibition its title, the encounter between two worlds and two ways of perceiving and narrating the body are illustrated. Images alternate of a young Muslim woman, an Egyptian student at the school where Lina Fucà teaches, and the artist herself.
The camera lingers over the details: a hand holding a knife and cutting an onion, and in sequence another hand performing the same action; the girl intent on arranging a headscarf, in what is not only a daily habit but also an elegant sacred ritual. Almost as if to counterbalance these images come others showing the artist washing her hair in a metal basin. The hair is in the foreground, the movements are slow and timeless, while the sound of the dripping water is heard, taking us back to a primitive emotion.
The second work, entitled unopertreugualesette (‘onetimesthreeequalsseven’), consists of five screens, each containing three videos arranged one above the other like three narrative sequences.
Once again, the protagonist of the images is the artist, as she is dressed and made up by women of different ages and nationalities. A profound relationship is created between them. As they powder and wrap the body in a game of cross-references and interchanges, the women reveal something of their own intimacy. The artist’s dressing thus seems to correspond to their exposure.
nonbastaunmilionedipassi (‘amillionstepsisnotenough’) is the third installation in the exhibition. It represents the evolution of a group of works that the artist created at the end of an artistic residency in Cuba in the summer of 2016. Invited to the island by the Fondazione Merz, Lina Fucà moved around to different locations and came into contact with many people, to whom she entrusted a number of disposable cameras, asking them to use them freely.
These shots, presented in light boxes, are accompanied by a video showing hands crocheting ten kilometres of thread that the artist has made by unravelling jute sacks used on the island to harvest coffee and cocoa. The result is a long rope, a metaphor for encounters and relationships, a physical and mental trace of this choral experience, the journey made with the story of the world the artist encountered.