9,99 €
Mehr erfahren.
- Herausgeber: Dhuoda edizioni
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Di madre in madre (from mother to mother) is a multimedia research project, aimed at the revitalization of the matriarchy myth considering the effect that it can still produce, with a strong impact in achieving awareness of the cultural and gender roots in women's and today's mothers. It proposes a new point of view, using the image and visual communication as a tool for the dialogue between different disciplines. A dialogue between archeology, anthropology and photography that weaves the different aspects of the female figure. Anna Marceddu undertook an iconographic study of archaeological and historical artifacts present in Sardinian museums, which demonstrate the local cult of the Mother Goddess and the transmission of culture and power through matriarchal and matrilineal networks, weaving them with portraits of women who have experienced, or are experiencing, the essence of the Matriarchy. Looks that refer to the strength and hardness of the stone carved as a symbol of life and generation. A fil rouge that links past and present, weaving a close relationship between the feminine dimension within the society and its representation.
Das E-Book können Sie in Legimi-Apps oder einer beliebigen App lesen, die das folgende Format unterstützen:
Veröffentlichungsjahr: 2017
Ähnliche
From mother to mother
Description
Credits
Special thanks
Copyright
“From Mother to Mother”
For a liturgy of memory
Video 1
Images
Video 2
Matriarchy?
Bibliography
Video 3
At the beginning, the Mothers
Video 4
Unimaginable hands, gestures to imagine.
Video 5
Anna Marceddu
Image captions
Punti di riferimento
Summary
Description
Di madre in madre (from mother to mother) is a multimedia research project, aimed at the revitalization of the matriarchy myth considering the effect that it can still produce, with a strong impact in achieving awareness of the cultural and gender roots in women's and today's mothers. It proposes a new point of view, using the image and visual communication as a tool for the dialogue between different disciplines. A dialogue between archeology, anthropology and photography that weaves the different aspects of the female figure.
Anna Marceddu undertook an iconographic study of archaeological and historical artifacts present in Sardinian museums, which demonstrate the local cult of the Mother Goddess and the transmission of culture and power through matriarchal and matrilineal networks, weaving them with portraits of women who have experienced, or are experiencing, the essence of the Matriarchy.
Looks that refer to the strength and hardness of the stone carved as a symbol of life and generation. A fil rouge that links past and present, weaving a close relationship between the feminine dimension within the society and its representation.
Credits
Publishing project by the Cultural Association ‘Trigu’ - Cagliari Author: Anna MarcedduPhotographer's assistant: Silvia LocciContributions: Alessandra Menesini, Raffaella Venturi, Anna Oppo, Luciana Percovich, Giulia BalzanoGraphic cover: Stefano Puddu CrespellaniPage layout and software development: Giovanni FaddaTranslation: Franco StaffaPublisher: Dhuoda edizioniDate of publication: Marzo 2017
Special thanks
Photographic documentation of the Mother Goddess sculptures and other archaeological findings published with permission of the Museums of Sardinia- National Archaeological Museum of Cagliari - National Archaeological Museum 'G. A. Sanna 'Sassari - Archaeological and Paleobotanic Museum of Perfugas - National Archaeological Museum of Nuoro.
We thank for the cooperation Maria Giovanna Gungui, Barbara Manca, Simona Pagliari, Carlo Garau and the social cooperative Panta Rei Sardinia.
And a special thanks goes to Prof. Elia Anna Sanna and all the women who have lent their faces and their words to this project.
Copyright
All contents in this e-book (text, graphics, trademarks, logos) are the exclusive property of the Dhuoda editions and/or third parties. Copyright law no. 633/1941 and other intellectual property laws protect these materials and subsequent amendments and additions. All rights reserved. Without the prior written consent of the copyright owner no part of this e-book may be reproduced, distributed, or transmitted in any manner or by any means, including photocopying, recording, renting and lending, or other electronic or mechanical methods. In no case, the user acquires the rights inherent to the commercial exploitation of the eBook. Violations are subject to the penalties provided for by the above Owner.
ISBN: 978-88-98984-04-6
“From Mother to Mother”
By Alessandra Menesini
They are beautiful, these women made of stone and flesh. The faces portrayed by Anna Marceddu, sculpted by ancient hands or by layers of years gone by, weave a thread which goes “From Mother to Mother”.
There are Venuses and Goddesses among the simulacra with rounded features or stylised in lines showing perfect synthesis, directly connected to the matriarchs, who posed with some restraint for the photographer who asked about their busy lives. Anna Marceddu sat down to listen and collect stories, smiles and melancholy. In her shots, black shawls and white buns held by hairpins, a woman with a fur stole, another one with the typical costume of Desulo, artists with their works in the background. They belong to the same race, protagonists of a reportage which cancels the millennia and compares centuries-old female figures with those of their descendants, more familiar but just as strong. “I love their long, light gait”, wrote Giuseppe Dessì. He too admiring their gentleness and strength.
For a liturgy of memory
By Raffaella Venturi
There is something beautiful and moving that must be said about Sardinian women; all of them, just all of them; from Barbagia, Ogliastra, Logudoro, Gallura, Sarcidano, Trexenta, Marmilla, Carloforte, Iglesias, Sant'Antioco, Alghero, Tempio, Cagliari, Sassari, Oristano, Nuoro. They have no blood in their veins; they have a liquid of an indefinite colour which flows slowly, like the Rio Pardu, and then stops, almost freezing, when the pain reaches limits that are unbearable for men, who are rightly considered inferior from a genetic point of view and only fit for biological reproduction and the inheritance of houses, fields, flocks and vineyards. Women are always the ones who take matters into their own hands and manage the days of pain and humiliation. All of them, just all of them: they are a Kantian category.
from “The Theology of the Wild Boar”, Gesuino Némus
As in an intimate liturgy, all the women filmed by Anna Marceddu tell us about their life. A synthesis, the salient moments, their family of origin, the family they married into, births, deaths, work. All ten of them talk about themselves with prolonged-release grace: you start listening to them and you are slowly captivated by a peculiar voice, talking eyes, talking hands, talking white hair. As in “Pina” by Wim Wenders, where the narration of Pina Bausch takes place also thanks to fixed close-ups of her dancers and their voices off screen, Anna uses the stillness of photographs, gathered in the exhibition “From mother to mother, matriarchy and matrilineality in Sardinia”, about 20 portraits of women generally born in the ’20-’30s, in their black clothes or traditional dress. Words come later, listening to their tales in the ten videos shot by the photographer, choosing the aesthetics of the essential nature of vision. In both cases, when shooting videos and taking photographs of her matriarch friends, Anna's approach was that of taking away, so as to trace true cameos of the complex female Sardinian anthropology. Cameos in black and white. Which come to life, light up their eyes, suggest a gestural expressiveness, announce their life digging in the remote past and beyond that, up to their ancestors, who had already grasped, just like them, that everything went through them, life and death and anything in the middle, liquid and solid, pleasant and painful, movable and fixed, material and immaterial. This photographer, delicate and educated, pursued an impeccable work, standing next to big, great women with discretion. Big women because of their age, even greater because of their passage in terms of sense and spirit on this earth; great bearers of water – the amniotic liquid which generates life and inside a jug on a head-pad – and intelligence, words and poetry, material culture and materials for subsistence. Even for that of the spirit.
With an approach that has no frills and no complacency, this just about visual anthropologist shows us a feminine cross-section that is strong and tender, at times ironic. Women who share their memory with the objective of a photographer who does not limit herself to the visual aspect, but also asks for that same memory to be put at her disposal. In a time of sharing, ethical and necessary, this work teaches us that memory is also a good to be shared. Not only “in order not to forget”, but also to reset a present that is always too hasty and ungenerous with respect precisely to that spellbound word, that disappears as we pronounce it: memory. For an excess in use, for a defect in recording. Anna took on herself the burden of recording, freezing these women's voices, their glances, their wise words, their experience on the field, the field of family, daily life, of time that goes by and is always the same, apparently always the same, but who knows! Then there is the relationship with ideas, with imagination, with the infinite, which is always at the basis of an artistic research, such as that by Rosanna Rossi, Maria Crespellani and Liliana Cano.
If Maria Lai, who floats above all these women with her crucial words on female thought, imagination and action, could see the product of Anna's research, this e-book with the portraits of live Mediterranean mothers, the interviews, the archaeology attesting the univocal female line, which has moulded this land of queens which is Sardinia since the dawn of time, what would she say? She would say that Anna did a great job, something like the one she, Maria, did in 1981 when she tied an entire village, Ulassai, to its mountain, involving all the women living there.
In a different way, with different tools, Anna has forever tied “her” women to the sedimentary and karst mountain of Memory.
