I pass, like night, from land to land
Despite strong currents and tumultuous displacements, the running water tells the inevitable flow that also brings with it trunks, branches and waste that accumulate and strands. The perilous water wants to break the resistance of the debris, but they sediment surviving destruction and transformation.
The branch in the video, stranded at that fixed point in a precarious equilibrium, performs an act that in itself has defense and attack, a voluntary action to persist, to attempt to maintain its hold.
Memory, in the same way, is resistance, it opposes uncertainty, forgetfulness, dispersion, destruction. Attempting to maintain and preserve memory, to tell and communicate it, is to build and stratify presences.
The urgency and necessity of the story is what moves the Ancient Mariner of Coleridge to entertain one of the three guests he has met, who must listen to his story.
The next day the boy will wake up sadder and wiser.
(…)
Since then, at an uncertain hour,
That agony returns:
And till my ghastly tale is told,
This heart within me burns.
I pass, like night, from land to land;
I have strange power of speech;
That moment that his face I see,
I know the man that hear me:
To him my tale I teach.
(…)”
Samuel Taylor Coleridge, The Rime of the Ancient Mariner
Video Hd 1920×540, 01’43’’
2019
thanks to Umberto Costamagna
Selected projects
Silvia Margaria spent three years at the film archive of Cineteca at the National Cinema Museum in Turin, working in the field of inspection and cataloguing films.
This work experience was fundamental in forming her current artistic research: the careful way of approaching the memories and the storytelling identity from the past, and the effort of bringing you to look beyond your own ordinary bustle, they have the intermittence of the case allusions and fragments, the precariousness and fragility. Her working methodology gives importance to dialogue and participation with other visual traces taking into account the relationship between opposites understood as tensions comprising the experience of relationship with the memory of the complexity of the relationship between man and the environment.
Her research is based on a rhythm that makes slowness a method of action, to ensure that attention can be manifested in an open, measured and responsible way.
“Friction, between a nature that reveals itself and at the same time retreats into its most essential part, is the very secret of nature, namely the invisible reason of which the world is its external manifestation. Silvia Margaria’s poetic vision straddles this very point: the artist seeks the imperceptible part of nature and explores its process of appearing with an observational work based on the desire to understand the mystery of life as it runs its course. Her work, in line with what it explores, is configured in the ambiguity of opposites (scattering/concentration – hiding/revealing – searching/finding – one/many – solitude/collectivity – communication/relationship – remembrance/oblivion – resistance/change) in relation to each other rather than in their divergent reciprocation, through the processing of the transitive quality of concepts, so that the consequential motion that characterises the natural flux of things can be drawn from their dialogic link.”