Presentazione dell’artista, in conversazione con Cecilia Guida e Giulia Grechi
Introduce Iolanda Ratti, conservatrice di arte contemporanea MUDEC – Milano (ingresso libero)

GIOVEDI’ 7 LUGLIO 2016 – ORE 19.00
Sede: Spazio delle Culture Khaled al-Asaad

Fiamma Montezemolo conduce da anni una ricerca che sfugge alle definizioni di genere, posizionandosi in un territorio di mezzo che è punto d’incontro tra pratica artistica e antropologia.
I suoi lavori, site-specific, interdisciplinari, multimediali e partecipativi, partono dalla riflessione sul concetto di frontiera, intesa sia come luogo fisico – a partire dalle zone in cui ha lavorato come etnografa – sia come metafora applicabile a esperienze personali, sociali o politiche.
Durante l’incontro al MUDEC verranno approfondite da una parte la complessa problematica dell'”arte sociale”, dall’altra alcune questioni metodologiche legate ad un approccio profondamente interdisciplinare e inter-mediale.
L’artista presenterà il proprio lavoro video e ne discuterà con Cecilia Guida, docente presso l’Accademia di belle Arti di Firenze, direttrice e curatrice del programma UNIDEE-Università delle Idee di Cittadellarte-Fondazione Pistoletto di Biella e Giulia Grechi, antropologa, docente presso l’Accademia di Belle Arti di Brera e fondatrice di Routes Agency.

Traces, DIGITAL VIDEO, 20:26, 2012

In this experimental video-essay ethnographic research and art forms
combined with and an enigmatic electronic musical motif merge to create a meditation on the border life between the United State & Mexico. Based on both years of ethnographic work in Tijuana and an ascetic shooting schedule of 24hrs, the artist and anthropologist refracts her experience in the region by attempting to sculpt a textured living portrait, a sort of biography, of the Wall that separates Tijuana and San Diego. Images of a rusty wall, unruly topography, decaying surveillance structures, furtive moments of undocumented migrant crossings, and dystopian landscapes are interwoven with a mournful voice-over enunciated from a different time and place.  The fate of the Wall is sealed: its remains are to be collected like forensic evidence by a visitor, perhaps another anthropologist and artist, perhaps another undocumented migrant, from the future.

See more here.


Echo is set in the border between Mexico and USA and it is an ethnographic research on the after life and “echoes” of 9 art works that have been part of the two-decade old public art event called inSite. It highlights the procedures of intrusion at work in such a site as the US-Mexico border as well as the now canonical deployment of the emblematic figure of fieldwork. It teaches us that intrusion is an ontological dimension of intervention, at once anthropological, curatorial, and artistic. By revisiting the scenes of these curatorial and artistic interventions, “echo” emerges both as a concept and a practice that assembles the futures of art works beyond its expected ruins and remains. Each work/artist and afterlife/echo of those works  -after the artists finish them and leaves or focuses on another work – raise different and enriching questions on social art, on its ethics, on the methods, on the people involved in the projects, on the city itself and its urban cycle, on the future of public sculpture. The assemblage of archival images and current reverberations, of text, voice over and interviews, of affects and representation has been a real challenge in this work. The result is that more questions were open after the initial ones. The conclusion is inconclusive: Narcissus (all of us working, representing, intervening on the border: anthropologists, artists, curators, etc.) and Echo (the context, the artists, the collaborators, the public sculptures, the objects, etc.) are part of the same scenario and they are both plural and problematic in their own way…

See more here.