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 (Savigliano, 1985) lives and works in Turin.
After studying at the Accademia Albertina di Belle Arti in Turin, she spent a few years at the film archive of the Museo Nazionale del Cinema in Turin, working in the film inspection and cataloguing department. This experience profoundly shaped her artistic research, fostering a methodology based on observation, waiting, deceleration and discovery, as well as a conscious attention to the dynamics of preservation and disappearance.
Her practice unfolds through photography, installation, video, archival research and site-specific projects. Through dialogue with visual traces, memories and landscapes, her work investigates the relationships between memory and oblivion, fragility and permanence, human and non-human environments. Her research pays particular attention to contingencies, fragments, latent narratives and the coexistence of opposing forces.
She has been a member of Progetto Diogene and she is co-founder of Progetti Specifici, an independent association dedicated to contemporary art research. She has also worked as tutor and coordinator for artistic residency and research programs, including Casa Walser, Hòbelté (2021) and The Unseen, Progetto Diogene (2017–2019). In 2025, she is one of the founders of Emulsioni, a festival of analogue photography held in Ferrania (SV), on the site of the former film factory.
“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.”
(Alice Zannoni, curator of the personal exhibition “La natura (non) ama nascondersi”, Cubo – spazio arte, Bologna, 2021).