{"id":603,"date":"2024-03-17T18:46:30","date_gmt":"2024-03-17T17:46:30","guid":{"rendered":"https:\/\/zeit-artresearch.org\/the-last-lamentation\/"},"modified":"2024-04-10T11:37:13","modified_gmt":"2024-04-10T09:37:13","slug":"the-last-lamentation","status":"publish","type":"post","link":"https:\/\/zeit-artresearch.org\/en\/the-last-lamentation\/","title":{"rendered":"The Last Lamentation"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-justify-content-flex-end fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_2_3 2_3 fusion-flex-column\" style=\"--awb-bg-blend:overlay;--awb-bg-size:cover;--awb-width-large:66.666666666667%;--awb-margin-top-large:0px;--awb-spacing-right-large:3.84%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:2.88%;--awb-width-medium:66.666666666667%;--awb-spacing-right-medium:3.84%;--awb-spacing-left-medium:2.88%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-1 fusion-sep-none fusion-title-text fusion-title-size-one\"><h1 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:64;line-height:1;\">The Last Lamentation<\/h1><\/div><div class=\"fusion-text fusion-text-1\"><p><strong>The Last Lamentation<\/strong> is an art project by <strong>Valentina Medda,<\/strong> by <strong>Maria Paola Zedda<\/strong>, made possible thanks to the support of <strong>Italian Council<\/strong> (11th edition, 2022), a program for the international promotion of Italian art by the Ministry of Culture&#8217;s General Directorate for Contemporary Creativity, through which the artist investigates the tradition of ritual funeral weeping in the Mediterranean by placing it at the center of contemporary reflection.<\/p>\n<p>The project is presented by <strong>ZEIT (lead<\/strong> partner<strong>),<\/strong> in partnership with <strong>MAN Art Museum of the Province of Nuoro<\/strong>, <strong>Teatro di Sardegna, Arts Centre 404 \/ VierNulVier (Ghent, BE <\/strong>) and<strong> Flux Factory (New York)<\/strong> in collaboration with the <strong>Fondazione Sardegna Film Commission<\/strong> and supported by <strong>ARS &#8211; Arte Condivisa in Sardegna<\/strong> for the <strong>Fondazione di Sardegna <\/strong>(project sponsor). The work is acquired by <strong>MAMbo &#8211; Museum of Modern Art in Bologna <\/strong>. Cultural partners are <strong>Careof<\/strong>, <strong>BIG Bari International Gender Festival<\/strong>, <strong>RAMDOM<\/strong>,<strong> Sa Manifattura, Alchemilla<\/strong>.<\/p>\n<\/div><div class=\"fusion-text fusion-text-2\"><p><strong>The Last Lamentation<\/strong> reconstructs a ritual action in which a group of women dressed in black address the sea, as if in an act of prayer, performing a repetitive and hypnotic sound and choreographic score,<br \/>\nreworking ritual codes into contemporary and abstract forms. Simple gestures and sounds connect the Sardinian lament with that of countries bordering the Mediterranean, resulting in a shared weeping that, through body and voice, recounts the tragedies of the sea.<br \/>\nA crossroads of present-day diasporas, in the work the sea is conceived as a place of reception and storage of bodies but also as a body in itself, gathering ancient and contemporary funeral mournings through a grand choral ritual involving local and migrant women.<br \/>\nConceived as both live performance and video, the work is structured through a collection of materials and research related to women&#8217;s knowledge of the collectivization of grief and mourning.<\/p>\n<p>The artist is supported by the large-scale European network <strong>Stronger Peripheries &#8211; A Southern Coalition<\/strong> thanks to the support of <strong>Teatro di Sardegna, Bunker Ljubljana, L&#8217;Arboreto Mondaino<\/strong>.<\/p>\n<\/div><div class=\"fusion-text fusion-text-3\"><p><strong>Valentina Medda- biography<\/strong><br \/>\nValentina Medda is an interdisciplinary artist from Sardinia who lives in Bologna. His artistic practice winds between image, performance and site-specific interventions, investigating the relationship between public and private, body and architecture, city and social belonging. His work has been exhibited and tours in national and international art and performance contexts from Bologna, Milan, and Cagliari to Paris, New York, Beirut, Brussels, and Amsterdam. She has been artist-in-residence at VOORUIT in Ghent, BAR in Beirut, Cit\u00e9 des Arts, Paris, Flux Factory, NY, Les bains connective, Brussels, MaisonVentidue, Bologna. In 2019, she was invited to the Grand Tour d&#8217;Italie, an international networking project of the Contemporary General Directorate of the Ministry of Culture.<br \/>\nHe has received the Cimetta Fund for Artistic Mobility, Movin up from the Emilia Romagna Region, IAP Mentorship from NYFA &#8211; New York Foundation for Arts and Tina Art PRIZE, among others. His project Cities by Night Across Borders, was selected among 19 winners of the European program &#8220;Perform Europe.&#8221;<\/p>\n<\/div><div class=\"fusion-text fusion-text-4\"><h5><a href=\"https:\/\/zeit-artresearch.org\/the-last-lamentation-al-museo-man-di-nuoro\/\">The Last Lamentation at MAN in Nuoro<\/a><\/h5>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 awb-sticky awb-sticky-medium awb-sticky-large fusion_builder_column_1_3 1_3 fusion-flex-column\" style=\"--awb-bg-color:var(--awb-color3);--awb-bg-color-hover:var(--awb-color3);--awb-bg-position:right top;--awb-bg-size:cover;--awb-width-large:33.333333333333%;--awb-margin-top-large:0px;--awb-spacing-right-large:5.76%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:5.76%;--awb-width-medium:33.333333333333%;--awb-order-medium:0;--awb-spacing-right-medium:5.76%;--awb-spacing-left-medium:5.76%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\" data-scroll-devices=\"small-visibility,medium-visibility,large-visibility\"><div class=\"fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-separator fusion-full-width-sep\" style=\"align-self: center;margin-left: auto;margin-right: auto;margin-top:30%;width:100%;\"><div class=\"fusion-separator-border sep-double\" style=\"--awb-height:20px;--awb-amount:20px;border-color:var(--awb-color3);border-top-width:1px;border-bottom-width:1px;\"><\/div><\/div><div class=\"fusion-title title fusion-title-2 fusion-sep-none fusion-title-text fusion-title-size-three\" style=\"--awb-margin-right:4%;--awb-margin-left:4%;--awb-margin-left-small:4%;--awb-font-size:28px;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;font-size:1em;--fontSize:28;line-height:var(--awb-typography1-line-height);\">The Last Lamentation<\/h3><\/div><div class=\"fusion-text fusion-text-5 fusion-text-no-margin\" style=\"--awb-margin-right:4%;--awb-margin-bottom:4%;--awb-margin-left:4%;\"><p>MAMbo &#8211; Museum of Modern Art of Bologna, MAN &#8211; Museum of Nuoro, Sardegna Teatro, Flux Factory (NYC), VierNulVier (Belgium)<\/p>\n<p><strong>Valentina Medda<br \/>\n2023<\/strong><\/p>\n<div class=\"fusion-text fusion-text-1\">\n<p><strong><a href=\"https:\/\/www.fondazionedisardegna.it\/news\/progetti-col-sostegno-della-fondazione\/1036\/the-last-lamentation-il-progetto-internazionale-prende-il-via-con-una-residenza-artistica\" target=\"_blank\" rel=\"noreferrer noopener\">Foundation of Sardinia<\/a><br \/>\n<a href=\"https:\/\/www.culturabologna.it\/events\/the-last-lamentation\" target=\"_blank\" rel=\"noopener\">Culture Bologna<\/a><\/strong><\/p>\n<\/div>\n<\/div><div ><a class=\"fusion-button button-flat fusion-button-default-size button-default fusion-button-default button-1 fusion-button-span-yes fusion-button-default-type\" target=\"_self\" href=\"https:\/\/zeit-artresearch.org\/en\/projects\/\"><i class=\"fa-angle-left fas button-icon-left\" aria-hidden=\"true\"><\/i><span class=\"fusion-button-text\">Back to projects<\/span><\/a><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>The Last Lamentation is an art project by Valentina Medda, curated by Maria Paola Zedda, is a tribute to the &#8220;expendable lives&#8221; of the Mediterranean, whose voices are made to &#8220;explode&#8221; through an act of lamentation that becomes collective.<\/p>\n","protected":false},"author":1,"featured_media":528,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[21],"class_list":["post-603","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-current-projects","tag-the-last-lamentation-en"],"_links":{"self":[{"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/posts\/603","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/comments?post=603"}],"version-history":[{"count":3,"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/posts\/603\/revisions"}],"predecessor-version":[{"id":663,"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/posts\/603\/revisions\/663"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/media\/528"}],"wp:attachment":[{"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/media?parent=603"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/categories?post=603"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/zeit-artresearch.org\/en\/wp-json\/wp\/v2\/tags?post=603"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}