Līlā | an exchange model
Sergio Racanati, trailer of the film Līlā, Kyta (http://sheikspear.wixsite.com/kyta)
The film Līlā of Sergio Racanati explores the social systems of a community within its territory and the hopes for a possible model of use of the area, producing a break between the systems related to localism and the post-globalism. Lila has been presented at the ASIA FILM FESTIVAL in November 2017, directed by Menene Gras Balaguer in Barcelona. The film of Sergio Racanati, was in the section DISCOVERIES.
The film from the title Līlā has been made in the Valley of Parvati, in the village of Kalga, India, 4500 meters of altitude in the Himalayas, during the experimental artistic residence presided over Kyta (http://sheikspear.wixsite.com/kyta). The real challenge in this socio-political system is to recognize and promote diversity as a model of overcoming the current physical and metaphysical constructions.
Sergio Racanati was born in 1982 in Bisceglie (Bat), Italy, and he lives and works between Milan and Miami (EN, F). He explores and analyses the creative practices that develop in urban, social and political contexts. His projects are linked to the public system, the political behaviors of the community, the relationships between individual and the collective memory analyzed through different media (performance, installation, video, film).
INTERVIEW WITH SERGIO RACANATI |Līlā
Art Super: How did you come up with the idea of līlā during the period of your residency at Kyta?
S.R.: The idea of making a film is born immediately after being invited to participate in the experimental residency KYTA, directed by Shazeb Sherif, in Hymalaia. The film, which is very far from the size of the story or, to use a term that it’s pretty trendy, from the Storytellig of the territory. It’s a movie! Surely it is linked to the sperimentation wth the media, cinema in this case, or perhaps I would prefer to call it an audio-visual work, in which collapse different languages, from performance to sound, from narrative to visual art. I like to define my choice as a cinematic experience, in which the viewer is no longer in front of the screen as a barrier, but the screen becomes the hub to a new dimension.
Art Super: What was your relationship with the land, which preserves a very well-known historical and spiritual idea, different from the global level that appears in the film Lila?
S.R.: I am always more interested in what is a territory. For me the territory it is not simply a geographical definition. It is a constellation of interactions between man and nature where man decides consciously or not to leave its mark. It is also our projection in a given context; it is the acrobatic result of multiple systems and on multiple scales of social relations: political, emotional, and therefore ethical. I did not altered my analysis of the territory and how to stay within it. My relationship with the land is very close to the contemporary ethnographer, in which the idea of colonialism will disappear and I can enter in the analysis of the so-called studies/phenomena of the post-colonialism. In this film the reality is presented without any special filters: it’s much more invastigated through my point of view without special effects, without elements or particularly devices tied to the fiction. What I wanted was to stay within the language of film.
Art Super: Would the inhabitants of Kalga accept your presence on the territory or you were considered as an exotic product of the globalization?
S.R.: I’m interested in creating micro-relations between those who remain and those who leave, between those who arrive and those who welcome the people in their own territory, among the inhabitants and who goes through it. What a fear to be considered as a product and what if I added the noun exotic. I don’t think I can handle it! I believe in magnetic fields, and the energy that each of us possesses within their body. A large part of my research, and my reflections pass through the study of the body that I think as a political agent. My presence and my relations with the inhabitants of the village of Kalga, where I did the residency and the project Līlā, were characterized by gift and exchange relationships within a dynamic of decentralization of the idea of tourist/artist/settler and inhabitant.
Art Super: What do you expect from Līlā? What impact do you think it can have on the european public?
S.R.: I wish that Līlā could be presented in festivals of cinema, in addition to personal exhibitions. The impact I would like to see could come from the possibility of creating a publication with a collection of texts, articles, reflections and interviews of philosophers, artists, political activists, curators, museum directors, public administrators, to spread and pull-up a greater critical mass inside of this abandoned scenario.
Sergio Racanati, photo / still from the film Līlā, Kyta (http://sheikspear.wixsite.com/kyta)