On August 4th 2020, a large amount of ammonium nitrate stored at the port of Beirut, in Lebanon, exploded, causing deaths, injuries and property damages. The substance had been previously stored there without the necessary safety measures.The explosion was felt in Turkey, Syria, Palestine and parts of Europe, while in every part of the world the explosion was seen on social media and tv: everyone witnessed it as if it was an art performance, something incredible, yet frightening.
As in Antonioni’s Zabriskie Point last scene, that of the explosion and the imagined and fantasized fall of capitalism, the explosion that took place in Beirut can seen as a set of other collapses in our contemporary world. The collapse of governments, the mismanagements of resources, the victory of profit over humanity. Otherwise, looking at the ruins now visible in Beirut, I see decay not as a dead, finished state, but as a changeable organic substance. These ruins have the same nature of natural fossils, both traces of organisms that used to be vibrant, always changing shapes, skeletons that are memory of their story.
This manipulation of the original photo is set in a parallel, yet dreamy dimension, where the place can be transformed in a peaceful memorial, and an area for collective growth and social exchanges.
Visual Artist and Poet born in Milan (IT) in 1998. Based in Lisbon (PT).
Through the use of different media – including photography, installation, sound, poetry, video and sculpture – her works are very intimate and personal, but sometimes reach a collective dimension. She focuses on the aesthetic of fragility and delicacy, researching her identity through the relationship with her family and loved ones, and big human interrogatives such as death and life. She aims to build up a therapy to cure her own trauma and unsolved restlessness, unveiling her thoughts and authentic human nature.
More info: ilariasponda.mypixieset.com