On the occasion of the Day of Remembrance, the Museo Novecento proposes a series of events that invite us to question ourselves on what “was” and on the value of art and culture as antidotes to the dramatically current indifference towards despair and death of thousands of people.
A similar reflection becomes even more necessary in a place of memory such as the Museo Novecento, requisitioned and transformed by the German troops into a gathering camp for the workers who joined the strike called in March 1944, 338 of whom were dragged to the Santa Maria railway station. Maria Novella and deported to the Nazi concentration camp of Mauthausen.
H11:00 am and 12.00 pm
Horizons. New views on twentieth-century art*
Guided tours within the AMIR project
On the day when the international community remembers the victims of the Holocaust, art becomes a way to reflect on the opportunities for encounter and mutual knowledge, the only antidotes against the hatred generated by stereotypes. The dialogue with the works and visitors will in fact be conducted by a group of migrants adhering to the AMIR project, young people from various countries who have studied the art of our time and of our peninsula by relating it to their own history, their origins, their homeland. The visit will allow you to get closer to the works on display through the eyes of those who have arrived in Florence as a “new citizen”: visitors, guided by voices belonging to different cultures, will be invited to observe the forms, codes, meanings of Italian art of our time and understand how the work of art is truly “open” and “the active center of a network of inexhaustible relationships”. (U. Eco)
The Holocaust Memorial
Exhibition of some projects of the Sam Fox School of Design & Visual Arts Washington University St. Louis
The students of the course directed by Professor Stephen Leet developed plans for a hypothetical Holocaust memorial located in the Museo Novecento. In March 1944, fascists and Nazis transformed the Ex Leopoldine into an interrogation and detention center for hundreds of striking workers, who were arrested and detained by the Italian authorities in this building. On 8 March 1944, 338 prisoners were deported to the Mauthausen concentration camp in Austria: less than 20% survived. Each student has designed a memorial dedicated to the specific circumstances of the arrests, detentions and deportations that took place in March 1944: both the Jewish victims of the Shoah in Italy and those of the entire Holocaust are remembered, with the aim of shedding light on responsible for their suffering and their extermination.
Inventory. The Fountains of Za’atari
Sergio Risaliti in converstion with Margherita Moscardini
Inventory. The Fountains of Za’atari is a project developed inside the Za’atari refugee camp, born in 2012 in Jordan, on the Syrian border, to welcome citizens fleeing the civil war. In 2015, the camp reached a population of 150,000, making it the fourth largest city in Jordan and the second largest refugee camp in the world. There are currently 80,000 Syrians resident. Margherita Moscardini lived in the camp for several months and observed its reality through the double paradigm posed by the refugee condition which, on the one hand, questions the concept of Europe, bodies such as the United Nations and the system of nation states, and on the other hand, it calls us to rethink fields as urban realities destined to last. The project, promoted by the Pastificio Cerere Foundation of Rome and supported by numerous international institutions and foundations, is the winner of the first edition of the Italian Council 2017 call, a competition created by the Directorate General for Contemporary Art and Architecture and Urban Peripheries (DGAAP) of the Ministry of Heritage and of Cultural Activities, to promote Italian contemporary art in the world.
Margherita Moscardini (Italy, 1981) investigates the relationships between urban, social and natural transformation processes belonging to specific geographies. Her practice favors process and long-term projects, which he develops through large-scale interventions, drawings, writings, scale models and videos. Moscardini studied art in Bologna (Italy); she attended the CSAV of the Ratti Foundation in Como (visiting professor Yona Friedman) and was a research fellow of the Italian Academy for Advanced Studies in America, Columbia University, New York. In recent years he has developed projects in Italy, Istanbul, Seoul and along the European Atlantic coast, which have been shown in institutions such as ISCP, NY; MAXXI Foundation, Rome; Royal Palace, Milan, etc.
Basis for dialogue / Obvious structure / Impossible structure
Performance by Zoya Shokoohi
Leaning shoulder to shoulder with blindfolded eyes, two foreigners, using their own language of origin, try to initiate a dialogue that remains incomprehensible anyway. The two, standing semi-balanced on two wooden bases, cannot understand each other: no one could understand their dialogue, even if it understood both languages (Farsi and Albanian). The action does not consist in communicating with or through one’s own language, but in exchanging a fundamental sentimental experience, which arises from a childish subconscious of the “POWER TO TELL”. Since in our age the field coincides with the social structure in which each individual must cancel himself in order to integrate, today the only field that is not of concentration is the one in which it is possible to dialogue without necessarily losing one’s own language in order to integrate.
Zoya Shokoohi. Coming from a scientific and artistic background, Zoya Shokoohi (Isfahan, 1987) moved to Italy from Iran. In this shift, in addition to the attention paid to the relationship between Art and Science, which leads her to highlight the paradoxical nature of the latter, she questions her position within a western urban context. For this reason his work focuses on “necessary socio-political activities of today’s man”. His main works include: the performance I am here, made in Piazza della Signoria, archive November 2017, beautiful statuettes, Bilico, a game designed and built in various places in Florence, the performance political experience, created at the Limonaia di Villa Strozzi, archive of a dictator, the performance dictator is present, proof of the testimony in Berlin, it’s me / it’s not me.
Giovanni Micoli and Maria Lucia Bianchi lthey will play passages from Nobody knows about him by Ippolita Morgese
By reading selected passages, Giovanni Micoli and Maria Lucia Bianchi introduce us to the social dynamics that have had as protagonists the Jews residing in Florence. As in a novel, Ippolita Morgese tells the story of Carlo Pitti, the magistrate who was entrusted with the task of establishing the Jewish ghetto in the city, in 1571. Thanks to the discovery of the private archive, the author reconstructs the story of a key figure in the power system of Medici Florence, revealing, through anecdotes and unpublished data, habits, family traditions and customs of the late sixteenth century.