Text by Antonella Di Lullo For several
decades, our contemporary world has been characterized by an attempt to
overcome boundaries, whether national, cultural, disciplinary or ethical.
At the same
time we are witnessing the multiplication of antithetical movements that aim at
maintaining the established order, the preservation of certain identities and
values worlds, which are inexorably giving way to new realities.
We felt it was only right to confront the concept of borders, understood not
only as geographical limits, but as political, cultural and artistic borders. A
concept, to limit, in which every person, idea and form of expression is
enclosed and delimited. Once recognized, we have the tools to define and
identify what is inside the boundaries of a certain reality. The definition,
therefore, is seen as the act of establishing the limit. It’s a route that
simultaneously shows the ‘Other’, what is outside, and ‘I’, that for which a
boundary was wanted.
construction of a limit is somehow a performative act by an individual or a
community to declare a certain reality as a complete, finished, or defined.
Think of the Great Wall of China: a huge and ambitious work that even before
being a military construction was an affirmation of identity. On the one hand the
civilized world, the Chinese empire, the other the indefinite, barbarism. What
has been enclosed by that huge work is actually an attempt to define the
perceived perfect identity, which ended in implicitly sanctioning its end.
established and raised, boundaries, in fact, cannot contain an evolution. There
remains the need to limit that which is perceived as dangerous, avoiding the
commingling that invariably leads to new forms and identities that are still
not defined and are therefore dangerous.
limit we experience the Other and this brings with it the fear of the
At the same
time, fortunately, the need to go beyond these boundaries, to go beyond the
established limits, is an innate need in man that distinguishes his existential
experience. In fact, establishing a boundary brings with it the desire for discovery,
leading to the need to open up and discover, it builds dialogue and stimulates
research. Breaking boundaries brings the will of renewal in order to grow and
move limits, finding a new synthesis of thought.
Now in its
seventh edition, Outdoor, Festival places at the core of its investigation
these reflections. Therefore, the chosen
title, Beyond, wishes to be a omen
for overcoming the limitations and boundaries that distinguish our collective
artists who participate in this new edition confront these concepts by interacting
with the barracks’ architecture, going beyond its own borders, going beyond
their own conceptions of artistic work, putting themselves to the test with
media far from their normal way of working, trying to go beyond the limitations
imposed by the means that define their artistic style. Whether this be the digital
environment fabricated by Felipe Pantone,
the phantasmagoria of Virgilio Villoresi,
Joy’s theatrical scenes, Tellas’
enchanted settings, or the giant photographic posters by Fakso.
implement this reflection precisely on the media with which they typically
operate, elevating it from support to protagonist of their artwork. This includes the festive dance of the
characters and the passing through of death by Honet, the immersive installation by Tundra in collaboration with the Kuril Chto crew, Filthy Luker’s alien invasion of space
with a shapeless form, the didactic irony of Mobstr, AFK’s stencils,
the monochromatic, abstract explosions of American Craig Costello, the game of viewing interrupted found in the work
of the two Spanish artists Sebas Velasco
and Xabier Anunzibai, and Vlady’s
Some of the
exhibition spaces themselves, organized again this year as pavilions by
country, are ideally and physically joined by breaking down the walls and
creating a barrier-free path, along which will be presented new spaces that
were not visited during the last edition—unveiling them and displaying new
festival itself will respond to this mission by hosting other national and international
organizations working in contemporary art, called to curate the pavilion
assigned to them, such as Asalto Festival from Zaragoza and the Street Art Museum in St.
Petersburg, the Nuart Festival in Stavanger, the Sicilian Cultural Farm
cultural Park of Favara, the Wunderkammern Gallery in Rome and organizations
connected to training in the cultural sector such as the IED – European
Institute of Design.
search, collaborate. Test yourself with
the unknown. Reconsider viewpoints, share, break down boundaries. All this is
BEYOND. An attempt to openness to the world, that is an effort to build bridges
instead of walls. A way of communicating. Because we believe in the end, as
shown by Wittgenstein, that the limits of our language are the limits of our