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ABOUT US
We are a group of people facing artistic projects about social issues since 2015.
After the debut in 2019 of «27dollari, multimedia chamber opera» at Teatro della Fortuna in Fano, an opera freely inspired by Nobel Peace Laureate Professor Muhammad Yunus' first book "Banker to the poor", about the origin of microcredit and the dream of "segregating poverty in museums",
we decided to accept this new challenge. Another social issue: workplace deaths.
The production of «27dollari, multimedia chamber opera» had the support of important partners who showed their trust in our working group. Nobel Prize Muhammad Yunus, attending the audience in Fano, spent words of sincere appreciation and gratitude for the artistic and cultural value of the project. The partners also reconfirmed their interest in NO CRASH.
After the debut in 2019 of «27dollari, multimedia chamber opera» at Teatro della Fortuna in Fano, an opera freely inspired by Nobel Peace Laureate Professor Muhammad Yunus' first book "Banker to the poor", about the origin of microcredit and the dream of "segregating poverty in museums",
we decided to accept this new challenge. Another social issue: workplace deaths.
The production of «27dollari, multimedia chamber opera» had the support of important partners who showed their trust in our working group. Nobel Prize Muhammad Yunus, attending the audience in Fano, spent words of sincere appreciation and gratitude for the artistic and cultural value of the project. The partners also reconfirmed their interest in NO CRASH.
Paola Samoggia, Imagem Srl
music and artistic direction
After the debut in 2019 of «27dollari, multimedia chamber Opera» her own composition and creation, a project she strongly wanted to translate into music issues as poverty, usury, violence against women, and the importance of work as a tool of life,
NO CRASH represents another social issue to raise awareness through emotions.
Once again, a reflection on Dignity as an inalienable value, especially at work, where many of the soul's vulnerabilities converge.
music and artistic direction
After the debut in 2019 of «27dollari, multimedia chamber Opera» her own composition and creation, a project she strongly wanted to translate into music issues as poverty, usury, violence against women, and the importance of work as a tool of life,
NO CRASH represents another social issue to raise awareness through emotions.
Once again, a reflection on Dignity as an inalienable value, especially at work, where many of the soul's vulnerabilities converge.
This idea was born after the Thyssen tragedy in 2007 and has been waiting for an opportunity to be realised ever since.
Carlo Magrì, Imagem Srl
direction, photography and video editing
direction, photography and video editing
NO CRASH is a project that combines architectural space, music and dance in a complex way.
It is the encounter between a place and a project that immediately revealed itself to be full of poetic coincidences, starting from the title, found "by chance" on the walls of the building. It was enough to read on the walls to find the basic topics that make up the project: suffering (rash), death (ash), money (cash), the accident (crash).It's all there, in a word, in a space, in a gesture, in a sound.
Giuseppe Devito Spinelli
choreography and dance (video No Crash)
My idea of research started from a sad and not isolated historical accident at work in our country. Information and testimonies gave me the opportunity to improve my knowledge about the issue of workplace deaths, which unfortunately continues to be current. Among the fundamental references for the choreographic creation, I consider as protagonists those sheds and factories that house machinery, scaffolding, deafening or repetitive noises, specific smells and temperatures.
In addition to these sensitive elements, I think about the working man fitting into the context and becoming an integral part of a robotic, compulsive and alienating assembly line. This context provides me to empathise with the daily process workers are subjected, and considering the starting idea, to reflect on the real safety conditions at work.
Finally, I thought about my training as a dancer, the study of a discipline, mastering a technique, internalising a form or an aesthetic code. I easily associated this personal experience with the idea of dance and creative research. This last reflection reminded me of the thin line between the dancer-athlete, perfectly reproducing forms and aesthetic codes, and the dancer-artist, exploiting and transforming that code into an absolutely personal product. How does this reflection fit into the original choreographic research? The answer is simple: in the dichotomy between the man who dances the machine and the man who dances the personal need to claim his own humanity.
choreography and dance (video No Crash)
My idea of research started from a sad and not isolated historical accident at work in our country. Information and testimonies gave me the opportunity to improve my knowledge about the issue of workplace deaths, which unfortunately continues to be current. Among the fundamental references for the choreographic creation, I consider as protagonists those sheds and factories that house machinery, scaffolding, deafening or repetitive noises, specific smells and temperatures.
In addition to these sensitive elements, I think about the working man fitting into the context and becoming an integral part of a robotic, compulsive and alienating assembly line. This context provides me to empathise with the daily process workers are subjected, and considering the starting idea, to reflect on the real safety conditions at work.
Finally, I thought about my training as a dancer, the study of a discipline, mastering a technique, internalising a form or an aesthetic code. I easily associated this personal experience with the idea of dance and creative research. This last reflection reminded me of the thin line between the dancer-athlete, perfectly reproducing forms and aesthetic codes, and the dancer-artist, exploiting and transforming that code into an absolutely personal product. How does this reflection fit into the original choreographic research? The answer is simple: in the dichotomy between the man who dances the machine and the man who dances the personal need to claim his own humanity.
Lucia Vergnano
coreografia e danza (video Hope)
As a woman, a mother and a dancer, I felt very close to this project.
Too often we have to make compromises at work and follow rules that do not meet our real family needs, especially during this difficult historical moment.
I imagined a tired but also pro-active mind that never stops getting up, trying again and fighting.
A mind that would like to scream but does not do so for fear of losing its job.
A mind that still hopes for a better future where every job and every worker will be granted equal dignity and value.
The choreography is my personal research about safety at work, not only physical but also psychological.
A safety that is still underestimated and has not been discussed enough, but which could have strong repercussions on society in the future.
Too often we have to make compromises at work and follow rules that do not meet our real family needs, especially during this difficult historical moment.
I imagined a tired but also pro-active mind that never stops getting up, trying again and fighting.
A mind that would like to scream but does not do so for fear of losing its job.
A mind that still hopes for a better future where every job and every worker will be granted equal dignity and value.
The choreography is my personal research about safety at work, not only physical but also psychological.
A safety that is still underestimated and has not been discussed enough, but which could have strong repercussions on society in the future.
Rita Forlani
screenplay of the original project (30 minutes)DFollowing the 2019 debut of «27dollari, multimedia chamberOpera» for which she created the libretto,
In 2007, the gash.
Today, the wounds still bleed.
Faces, colours, languages change; sometimes new forms arise, as recently Covid.
From the original 30 min. dance performance years ago, to today's video Spaziorisonante, it's the same old story.
We do not resign, nor do we accept it.
And above all: we do not forget.
cameras and drones
Following the participation in 2019 to "27dollars, multimedia chamber opera", both in studio shooting performing the virtual acting in the opera, then in video recording of the performance, a statement for NO CRASH:
"This project immediately excited us because of its ability to convey incredible emotions. Together images and music are able to give us wonderful emotions."
www.masterandcovideo.it
photographer
"The world of work safety is an important topic that should not be underestimated, through photography I strive to make visible the importance of workplace protection by transforming safety concepts into tangible images, inspiring concrete actions to protect those at work. My mission is to make the value of safety visible, one frame at a time."
www.bartolosicariphotography.com
thanks to
"The world of work safety is an important topic that should not be underestimated, through photography I strive to make visible the importance of workplace protection by transforming safety concepts into tangible images, inspiring concrete actions to protect those at work. My mission is to make the value of safety visible, one frame at a time."
www.bartolosicariphotography.com
production secretary _ Isabella Amidei e Paola Fabbri
International relationship _ Alessandra Bonzi
thanks to
Maurizio Lelli _ video assistant
production
Thanks to this particular multi-disciplinary approach, the Imagem team can easily navigate the various areas of communication and marketing, always guaranteeing original and never conventional results, in which creativity finds the right balance with the necessary technical knowledge, with the expressiveness and emotion, for a blend that guarantees the best result at the service of your ideas.
www.imagem.it
