Installation by photographer Max Cavallari curated by Associazione Fedora composed of images and audio accessible even to blind and deaf people
Opening Hours & Location
Spazio Lambrate, Viale delle Rimembranze di Lambrate, 16, 20134 Milano MI, Italy
A project, that of Max Cavallari, which at the behest of life itself, of its overwhelming and distorting us, takes on an even more intense meaning and an even more marked force precisely because of its incompleteness.
The disappearance of Lionella, in fact, by mocking her own illness, prevented the artist from proceeding in the documentation of the processes and progress of Alzheimer's and produced in the user of the work that condition of disorientation proper to the visually narrated syndrome.
The photo/audio work proposed here is characterized by Lionella's ringing tone of voice, in oxymoron with the accent inflections of her daughter, tired yet energetic, willing to a new and mysterious encounter with her mother's days to come. Antonella's thunderous laughter, spontaneous and engaging, is precisely a testimony not of resignation, but rather of acceptance of a present in which the roles are reversed, and as a caregiver she must be attentive.
The images, in their slow succession, accompanied by music that has the power to calm and disturb at the same time, are vivid until the end of the project, when a slight haze fades a family photo, a metaphor for the loss of fixed points and the multiplication of those questions. "Where are you?", seems to be the mantra of Cavallari's work, because this is the repeated question of his grandmother and this is also what those around her ask, thinking of her, perhaps with the exception of the dog, a faithful companion to whom it is enough that the mistress is there and whose eyes, to pierce the scene throughout the second minute of "Day 1", they seem a warning to the human who observes it from beyond the screen, because to date it has not yet been able to give worthy social answers both for the care of those suffering from Alzheimer's syndrome, and for the psychological and moral support to those who gravitate around the patient.
If the pain often divides, the disease is often feared. Yet this does not happen for "Day 1", a project in which, without making the patient lose his dignity, the viewer is also shown and told how much easier and more popular it would be to hide, pretending a hypocritical respect for modesty, where the need, the very motivation of the birth of the work was to show the fragility of the condition to which the disease leads, and the need for constant and soft assistance.
It is through symbols that Max Cavallari leads us to reflect free of any annoying rhetoric. The clock to indicate a time gone and another indefinite to arrive, the faith echoing indissoluble and eternal bonds, the prostheses and aids, together with the containers of the tablets, to transmit hope: in science and in the closeness of which one has been capable, but in which one must commit oneself more.