There is a sort of dark attachment to one's homeland, and there are the mists that turn every city streets and squares into metaphysical sceneries of a stage on which the typical script of each province is acted: that of waiting and dream. — Pier Vittorio Tondelli, 1990, Un weekend postmoderno. Cronache dagli anni Ottanta
As a child I used to observe my mother behind the curtains of our small provincial theatre. Household and everyday rituals performed with discipline and cautiously protected made her almost completely indecipherable. Outside long summers of salt and wheat dissolved towards the north-eastern end of Italy. [...] There’s still something raw in this town at the edge of becoming something else, as if it always pushed back before moving forwards. Some leave, others stay. And for those who return, the distance between memory and present sometimes blurs.
Heimweg explores those uncomfortable spaces of memory between two small towns on the Italian border with Slovenia. Flowing along 130 km between the border, the Isonzo river becomes a metaphor for the intrinsic connection between each source and its mouth, the thread for a story about family disrupture, identity and transformation.
“Schadenfreude” is a German term which describes the complex feeling of pleasure or self-satisfaction deriving from learning of or witnessing someone's misfortune.
Schattenfreude (lit. shadow-joy) is a paronomasia, a word-play seeking to investigate and reverse its original meaning.
The history of construction sites calls both the past and future into question. Yet, while being often perceived as non-places, their liminality unveils a deeper uncertainty: by trespassing temporarily in their being in between states of becoming, these spaces tackle the meaning of modernity and question the present itself, progress and its consequences.