"The essence of our human being is to connect with other people through our most basic sensations: fear, anger, pain or pleasure. It is the capability of those strong emotions, that unites us. My new project explores these fundamental human emotions. I am fascinated by the refined forms of communication between humans. I explore what creates harmony between two human beings and focus on the sensorial and emotional communicative exchange. For that, I deep dive into the four fundamental psychological layers: perception, emotion, behavior and knowledge. The project is a photographic experience, that goes far beyond the limits of regular portrait photography. No made up categories matter. What matters is that brutal individual freedom. The human connection, filtered by instinct and intuition, I intend to conduct to a primal state. The path to this fundamental truth is a cycle of closeness, chemistry and harmony - and then estrangement: the result will be the restructuring of the reality perception.“
Here my work for "The Cleaner" commissioned by Marina Abramovic LLC, realized by Fondazione Palazzo Strozzi.
Myself and 38 others spent five days together without knowing anything about each other, without speaking and eating. We did not know the sounds of each others voices. And we were only connected with life within the space. I took their hand and one by one and led them to a little wooden house. Inside the little house something primordial happened. It was connection. It was instinct, intuition, perception and thrust. It was emotion.
Together we were human. Together we were not human.
"In the summer of 1992, there was carnage in and around Palermo. First, a slaughter at Capaci, in which a judge, his wife and three police officers were slaughtered. Then, a blast in Via D'Amelio, which killed another judge as well as his five bodyguards. It was at this point that a group of women in Palermo felt the need to do something, to react in some way.
This project acknowledges and celebrates the many courageous women from Sicily who staged a public protest and hunger strike against the Mafia in 1992. Their actions were unprecedented, and their bravery initiated waves of publicity as well as public and private debate about a topic many feared..."
"Natural and unexpected is how this work appeared to me. In a move away from his usual language, Francesco Francaviglia has portrayed the objects found by the rescuers that belonged to the migrants – men, women and children – as if they were snapshots of the bare essentials. Humble things, each of which tells the story of a life clinging to that shred of hope: a series of telephone numbers, a crucifix, a cellphone, a pair of earrings, a toy car. The surfaces of these simple talismans have been eaten away by salt, and perhaps the water has swallowed up those who carried them. I could see it through the objects, I could sense it from the charred wood of the boats that had arrived ablaze. I didn’t yet know that Francesco was able to convey such a deep, tragic experience by simply photographing..."
Questo progetto cerca di ricostruire attraverso i ritratti dei principali protagonisti giudiziari (Pietro Grasso, Giuseppe Pignatone, Franca Imbergamo, Roberto Scarpinato, Gian Carlo Caselli…), alcuni dei gravissimi fatti di cronaca che, a distanza di anni, continuano a proiettare una luce sinistra sul presente della nostra vita democratica.
Dall'omicidio Impastato alle stragi del 1992, passando per gli omicidi Mattarella, Costa, La Torre, Dalla Chiesa, Chinnici, i grandi delitti politico-mafiosi sono, a dispetto delle già raggiunte verità processuali, dei casi in gran parte irrisolti sul versante delle responsabilità istituzionali. Tale affascinante ambiguità costituisce, terreno fertile per una ricerca non solo estetica da affidare alla fotografia, ma anche e soprattutto per un lavoro che possa contribuire alla riflessione sul presente senza mai distogliere lo sguardo dalle ombre e dagli abissi del nostro travagliato passato.
"They are bearers of different stories, some of them terrible, which you are compelled to sense and thus finally see. They are stories of struggles, victories, and defeats and they intersect all the dramas of our time. Stories of migrant fleeing wars and famines that mingle and intertwine with those of women who are victims of human trafficking, enslaved with deception and violence. Unique stories, individual and collective, which nonetheless have many similarities due to the risk of death and the violence suffered. They have in common the courage and desperation of those who have put their lives on the line to escape an inhuman destiny. Going beyond the barriers of states and the prohibitions of laws, similar in spirit to Antigone’s defiance of the unjust law..."
"Investigating man is like diving into the depths of the sea, where everything is blurred and you can’t breathe. You need a lens in order to bring things into focus and through which to investigate.
Mediterranean Darkness is a perpetual motion of eyes emerging from the blackness, which burn just like salt. All surfaced from the depths, all lapped by the Mediterranean, all generously looking
into the lens with open faces, presenting us their tragedy..."
"I’d never have thought, half a century on, I’d have to reread and reconsider the currentness of Adorno’s thoughts, flicking through the pressing images of this incredible story, that Francesco
Francaviglia, with lucid determination, has dedicated Holocaust 3.0 to the migrants of the Third Millennium, in particular to those that have landed at Lampedusa. I would never have imagined
to have and need to face, seventy years later, that word again, every time it’s uttered it bring back the grating noise of Nazi gas chamber doors, overlaid today with the sound of crashing
waves on lifeless bodies of migrants, men, women, children, adrift in the cold, black waters of the Mediterranean.