BICYCLE WITH WINGS
Installation made with Andrea Locci at SMS Exhibition Center San Michele degli Scalzi, Pisa
Bicycle with wings, 2014, Iron , 600×200 cm
Ifitry: artists between Italy and Morocco – March 2014 SMS Exhibition Center San Michele degli Scalzi, Pisa
INDIVIDUAL FACTORY WORKERS’ FILE-CARDS
In the first half of the forties, male and female factory workers experienced a terrifying fascist repression in the factory. Due to the German occupation, the terrifying repressive climate grew remarkably worse. In a few Italian factories, there were many strikes and protests for peace and the end of war production for the Nazis.
The Historian Paul Guisburg wrote that there were about 2000 deported factory workers who had participated in these protests. It is not possible to trace the protagonists of this liberation movement from the Individual Factory Workers’ File-Cards of Motofides. Workers were fired for trivial motives such as prolonged absence for illness, scarce rendering and diligence.
Already at the age of fifteen girls or boys were able to work in the factory as “mechanical apprentices” but scarce productivity or the refusal to do overtime were reasons to make a note of punishment on the worker’s file-card.
In Motofides there were a considerable number of female workers. Women’s wages were slightly above those of an apprentice and much lower that those given to men.
On the individual file-card it was necessary to specify that the worker belonged to the Fascist Party and the eventual participation in the March on Rome. If the employee did not adapt to the strict internal regulations or the boss disliked him/her, he/she was subjected to what is now called victimizing. Today the situation regarding workers’ rights is decisively different in the factory. The many fights for rights have improved working conditions in the factory, however, many industrialists have elaborated new strategies to attack these achieved rights. For example the atypical contracts, which have been created, deprive rights to the worker. The neo-liberal model of a globalized society imposes flexibility in working hours (timetable), salary, and short-term contracts.
There is no simple solution to the paradox we are living. The Trade Union, after having bartered everything possible, is unable to find a counterpart with whom to negotiate now that its orchestration has definitely failed. To make matters worse, it contributes heavily to the right-winged ultra-liberal government of today, which is accelerating privatization and as if this were not enough, it decisively has the intention to eliminate the right of permanent workers to be reinserted in the productive cycle in case of unjustified firing.
When this umpteenth repressive measure is passed in parliament, permanent workers will plunge thirty years in the past when the worker who demanded job security or the right to strike was easily fired.
2001, Hops! Spazio Tempotaneamente Occupato – Pisa and 2002 3° Biennale Giovani Artisti – Palazzo Lanfranchi, Pisa
THE WALL OF JERUSALEM
Being an atheist, I must admit that when I was asked to do a Christmas installation I felt a bit embarrassed to deal with the sacred theme of the Manger. I read the Gospel according to St. Mathew, the most descriptive part regarding the Nativity scene. The Three Kings follow the light from the East to Jerusalem and then to Bethlehem. The Wise men, experts in astronomy, knew that the apparition of the comet on earth meant the birth of the Son of God among men and women. This year the Christmas holidays in Bethlehem will occur in a terrifying climate with the military occupation of the Israeli army and the threat of Palestinian attacks. According to an article published in Le Monde Diplomatique the construction of a wall of hundreds of kilometres long dividing Israel from Palestine is about to be completed. This year in the Christmas installation at the Royal Victoria Hotel it is not possible to see the Manger scene because the three Wise men are not able to follow their journey towards Bethlehem due to this enormous wall. The installation is intended, through humour, to focus the attention of the spectators on the terrible reality that two populations live in a society made up of pain, hatred, injustice and terror.
2002, Royal Victoria Hotel– Pisa
OIL WELL
I was walking around the city looking for a place to realize an installation when I noticed footsteps painted on the road, remains of demonstrators against the war in Iraq in XX September square. At that point, I decided to organize my installation there utilizing these footsteps left by demonstrators the week before.
My intention is to stimulate people to ponder the concept of preventing war.
Imagine finding an oilfield in the city centre. Instead of it meaning wealth for its citizens, it could mean war and the meddling of warmongering governments of G. Bush and T. Blaire with the excuse of spreading democracy in the world, flooding the borders of Camp Darby to the city centre.
2003 Città e/o cultura, Piazza XX settembre – Pisa
FEXIBLE MAN
This installation is meant to be humorous regarding the situation with which I have to measure my skills against and it is tied to my last working experience. I was fired without due notice only because I had participated in a meeting organised by my ex-colleagues who wanted to try and claim a skill’s upgrade.
These anthropomorphous coat-hangers found in an abandoned factory symbolize individuals of the past who had a concept of work tied to the right to strike for their right to claims and guarantees of the Workers’ Statute. Their working file-cards represent the geography of the short-term contract workers’ pilgrimage. The so-called “human resource” is forced to move from one company to another due to the flexibility of the job market.
2003, Rebeldìa reloaded , occupazione Ex-etruria – Pisa
CINEMATOGRAFO
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2004, Cinematografo, Palazzo Agostini, Pisa
PRUNED TREE
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2004, Alberi, Palazzo Rosselmini, Pisa
BREST MILK
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2005, V Seminario italiano degli scrittori e delle scrittrici migranti, Palazzo Ducale, Lucca
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