African Object 2016

OBJECT. Every concrete thing, material, which can be perceived by the senses. African. adjective. Of Africa. The MIDDLE. an expedient act to achieve a specific purpose. The end justifies the means. Can a man be confused with an object? Truth. What is true, corresponding to reality, in relation to certain facts. Reality. L’s together, which is what really and concretely. LIKELY.

Consistent with the true, up to the point of ensuring the probability or the credibility of a fact which is also not done, not documented, not expected. DECEPTION.1. Mislead: tricks the opponent with a feint; even when the subject is inanimate. IMAGE.A’image is a visual representation,[1] solid[2] of the reality. In particular, a’image may represent the physical reality (in a more or less realistic), or a fictional reality[3]or abstract.[4] The New York Times and the Reuters news agency won the Pulitzer prize for photography for images that have recounted in 2015, the crisis of refugees in the Mediterranean. A photo taken by the australian Warren Richardson, denouncing the exodus of refugees from syria has won the photo contest World press photo in 2016.

EXPLOITATION. To obtain the maximum profit obtainable.
PERMISSION. Express written or oral consent to do something. IMAGINATION. The faculty of creating in the mind images that configure a possible reality or a dream, or even that they are devoid of any logical sense. REFUGEE .Who is forced to leave their homeland due to natural disasters, wars, etc., Can a REFUGEE AFRICAN (Of Africa) have a OBJECT? Properties.The property (in the Latin proprietas, from priolurius), in law, is a real right which has for its content the right to enjoy and dispose of things fully and exclusively.
Can a REFUGEE AFRICAN (Of Africa) have the right to enjoy and dispose of things fully and exclusive? DISCOVERY. what is discovered or invented by the research. CINESERIA. The term Cineserie derives from the French “Chinoiserie”, and refers to a period of the’european art, from the XVII century, which was a major influence of the’chinese art[1], even in the wake of a growing interest that l’Europe had developed for everything that was exotic, in general. This period was characterized by’use of imaginative visuals of an imaginary China. CINESERIA. (derogatory) a term very often used to mean low-quality products coming from the chinese market. Ex. “This camera is a cineseria”.
WELCOME. The act of welcoming, to receive a person. Still alive. “STILL LIFE”. In photography this term describes the photographic technique of any inanimate object. In a reception center for Refugees, AFRICAN (Of Africa) have been photographed OBJECTS brought to Italy by the countries of origin. LIST. Strip long, narrow and of varied material. Miniature christmas tree that lights up intermittently. Compass. Slippers brazilian. Led Flashlight. Eyeglasses. Refill gas for lighters. Toothbrush. Sponge for shower. Electric razor for beard. Vaporizer in a continuous stream and charge the hydraulics. Bottle opener. Army knife swiss type. Sports watch. Nail clippers in stainless

steel. Lighter. Portfolio imitation leather. Clock-alarm clock from the bedside table. Bag warm water in the shape of a breast surgically retouched.Thermos for food. Perfume pour homme. Sunglasses. Synthetic sponge for shower and bath in the shape of a flower. Flashlight stick to the led. Mp3 player. The speaker sound. Adapter 220v to usb. Small model of the seventies. Vaporizer simple. Two batteries 1.5 v. Soap white. Brush for powder. Super Glue. Waterproof portable. The blade is shaving. Water bottle thermal aluminium fuchsia. Sports shoes. Shoulder bag. Power Bank white. The abrasive paper. Pig piggy bank.

The photographer gives us the Reality without worrying about the Truth.

HORIZON. 1. a. The line apparent, […] to which you can push the eye Forward to the sol, which is then a big appears On the far horizon to render happy The animals and the plants and the fields and the waves (Parini). Can a REFUGEE AFRICAN (Of Africa) to be glad of the HORIZON? MARINA.Genre traditional. The wonderful sunsets that go from Tripoli to Lampedusa. The last HORIZON NAVY (pms 432/803) without boats is as good as another. The migrants who survive the journey to Tripoli come from Eritrea, Somalia, Nigeria, Sudan, Ethiopia, but also in Tunisia, Egypt and Syria are concentrated in places dilapidated and devoid of the health conditions (and humanitarian). The artist has reconstructed the inside of the museum of a reception centre for refugees, LIKELY using theatre actors. REPORTAGE. photo shoot (also known as photojournalism) which is carried out for the purpose of the journalistic or documentary, in the places in which you experience events or situations are of particular interest in the geographical, anthropological, naturalistic. The New York Times and the Reuters news agency won the Pulitzer prize for photography for images that have recounted in 2015, the crisis of refugees in the Mediterranean. A photo taken by the australian Warren Richardson, denouncing the exodus of refugees from syria has won the photo contest World press photo in 2016. A dead refugee is another.

AFRICAN OBJECTS is a collection of photographic works by Antonio Theo Pini. It’s the investigation/research of a socioeconomic microcosm started by the experience in a centre of welcome refugee in Livorno Italy and ended up between the shelves of some Chinese shops in search of useless objects. A visual project that from the beginning till the end waves between the truth and the probability, the reality and the fiction and thus the imaginable and the unpredictable. Within this process the technical boundaries and gender differences between documentary photography, landscape and still life eventually fade away in the chromatic affinities, submit to the evocative power and evocative images.The documentation, the reportage are not the priority of this work, it seems more like a pretext, a means to reach and to end different from the chronicle. Yet the images of the welcome centre are an updated document devoid of malice, of aesthetic devices, of intellectualistic forcing. Nothing is wanted in advance, order and disorder, joy and sadness, the presence or absence of the human being. Never a pose: the boy, with the phone in hands, lying on the bed seems to look into but actually staring into space thinking about what he should write in his message.You could doubt that the people photographed are actually actors paid by day to play the role of refugees: then a set-up intentionally handled in all its essentials details , mischievous, aesthetic and intellectual.

Who can say?

The ninety-four photographies creating this collection are linked together with another smaller one by visual expedients, sometimes they are obvious other they are almost imperceptible, in need of a dilated reading time: the image of a horizon is compared to that of a perfume bottle for men which essence takes up the greenish color of the sea. A lighter decorated with the image of a girl in Stars and Stripes bikini, above a photograph of a room where two boys are resting: among the things in the room there is also a folded object, maybe a hat with the American flag. Objects exist beyond the convenience and practical sense. This is what is perceived from entering any caucasian house. The expectation of the superfluous is never disappointed. The superfluous has become a matter of identity, exclusive of the west. Racism is inherent in the claim to determine what a person may or may not have, depending on their social belonging. Racism has determined that a refugee has the right to be superfluous, especially superfluous technology, what we surround ourselves with on a daily basis.

The objects in this photographic series questioning this prejudice and they do so through deception, insinuating the worm of doubt. We have to abandon the plausible and relying on the paradox, to accept the presence of a spray from the garden, a pig piggy bank, or a hot water bottle in the shape of the breast between the objects in the backpack or in the room of these people. Yet no one could exclude a priori the possibility, albeit extraordinary, that an eritrean, at the time of leaving their village or in their city to come in Italy, decides to bring a light from the bedside table in the shape of a christmas tree or a diffuser of sound bluetooth. Just as no one could exclude with absolute certainty that the horizons marine featured in this series have been captured in Tripoli, Benghazi, or the island of Lampedusa instead of on the seafront in a quiet town in the north of Italy. Because a horizon without a boat is as good as another.