Agorà
permanent sound installation
OPENArchival Platform
Gabriele Pantaleo
Photographer
Mohamed Keita was born in Côte d’Ivoire in 1993. At the age of 14, he left his country in the middle of a civil war to travel alone between Guinea, Mali, Algeria and Libya, where he embarked to cross the Mediterranean. After landing in Malta, he managed to reach Italy in 2010. When he arrived in Rome, at the age of 17, he lived on the street for a few months and began to attend the Civico Zero day care centre for minors in Savethechildren, where he was given his first camera.
He lives and works in Rome where he teaches photography at the Civico Zero center. In 2017 he opened a workshop for street children in Mali.
Main exhibitions and awards:
“Piedi, scarpe, bagagli”, Camera dei Deputati, Roma, 2012
“Ritratti”, XII Festival Internazionale di Roma, MACRO, Roma, 2014
Premio ‘young/old photographer’ PHC Capalbio fotografia, 2015
“Desperate crossing” mostra di Mohamed Keita e Paolo Pellegrin, Istituto italiano di cultura di New York, 2016
“Par l’errance”, Centro d
Mohamed Keita was born in Côte d’Ivoire in 1993. At the age of 14, he left his country in the middle of a civil war to travel alone between Guinea, Mali, Algeria and Libya, where he embarked to cross the Mediterranean. After landing in Malta, he managed to reach Italy in 2010. When he arrived in Rome, at the age of 17, he lived on the street for a few months and began to attend the Civico Zero day care centre for minors in Savethechildren, where he was given his first camera.
He lives and works in Rome where he teaches photography at the Civico Zero center. In 2017 he opened a workshop for street children in Mali.
Main exhibitions and awards:
“Piedi, scarpe, bagagli”, Camera dei Deputati, Roma, 2012
“Ritratti”, XII Festival Internazionale di Roma, MACRO, Roma, 2014
Premio ‘young/old photographer’ PHC Capalbio fotografia, 2015
“Desperate crossing” mostra di Mohamed Keita e Paolo Pellegrin, Istituto italiano di cultura di New York, 2016
“Par l’errance”, Centro d’arte contemporanea Luigi Pecci, Prato, 2018
“Rothko in Lampedusa”, mostra collettiva organizzata da UNHCR, Fondazione Ugo e Olga Levi, Venezia, 2019
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Curator
Gabriele Pantaleo graduated in Art History and methodology of historical and artistic research at Universtiy of Genoa in 2013. In 2015 he won the call for young curators helded by Centro per l’arte contemporanea Luigi Pecci of Prato and collaborated in the organization of the exhibition Così ti ha fatto Dio e così ti devo tenere: the call was organized in order to discover and to promote young artists in Tuscany. In 2016 he parteciped as curator in the exhibition Guardare il mondo di oggi e immaginare quello di domani organized by Centro Pecci of Prato. In 2018 he enrolled in the course for indipendent curators N.I.C.E. and he worked as curator in the exhibition Mettersi a nudo organized as part of the art fair Paratissima in Turin. In 2019 he has been assistent professor for the master course in Museum services management organized by Palazzo Spinelli Associazione no profit Firenze and Mus.E. Firenze. In the same year he organized the exhibition Nel Pensiero, Nello Sguardo by
Gabriele Pantaleo graduated in Art History and methodology of historical and artistic research at Universtiy of Genoa in 2013. In 2015 he won the call for young curators helded by Centro per l’arte contemporanea Luigi Pecci of Prato and collaborated in the organization of the exhibition Così ti ha fatto Dio e così ti devo tenere: the call was organized in order to discover and to promote young artists in Tuscany. In 2016 he parteciped as curator in the exhibition Guardare il mondo di oggi e immaginare quello di domani organized by Centro Pecci of Prato. In 2018 he enrolled in the course for indipendent curators N.I.C.E. and he worked as curator in the exhibition Mettersi a nudo organized as part of the art fair Paratissima in Turin. In 2019 he has been assistent professor for the master course in Museum services management organized by Palazzo Spinelli Associazione no profit Firenze and Mus.E. Firenze. In the same year he organized the exhibition Nel Pensiero, Nello Sguardo by photographer Mohamed Keita, hosted by MAD Murate Art District in Florence. He lives and works in Florence
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Photography exhibition by Mohamed Keita
Mohamed Keita’s residence at MAD Murate Art District focusing on images of institutional integration and volunteering in the media. The project took shape through visits to reception centres based in the Florence area. There, Mohamed Keita took the shots on display in this exhibition, which offer a different representation of otherness; a divergence that is not only the subject of our gaze and thoughts, but also leads us to a different way of thinking and looking.
_ Nowadays the images are so many and widespread to be unquantifiable. The speed that characterizes the visual and cognitive fruition in digital media makes their approach increasingly detached and fleeting. Starting from this observation, the exhibition is designed with the aim of creating a time for the image, citing the composition of the medieval and renaissance altarpieces. The exhibition, without captions, wants to show itself as a visual story, in which the viewer’s thought can find space to explore.
_ The first wo
Mohamed Keita’s residence at MAD Murate Art District focusing on images of institutional integration and volunteering in the media. The project took shape through visits to reception centres based in the Florence area. There, Mohamed Keita took the shots on display in this exhibition, which offer a different representation of otherness; a divergence that is not only the subject of our gaze and thoughts, but also leads us to a different way of thinking and looking.
_ Nowadays the images are so many and widespread to be unquantifiable. The speed that characterizes the visual and cognitive fruition in digital media makes their approach increasingly detached and fleeting. Starting from this observation, the exhibition is designed with the aim of creating a time for the image, citing the composition of the medieval and renaissance altarpieces. The exhibition, without captions, wants to show itself as a visual story, in which the viewer’s thought can find space to explore.
_ The first works on show are a series of shots that frame architectural details; the spaces introduce the story, capturing the look with a simple chromatic effect. But the man immediately begins to be evoked with the presence of some objects such as clothes stretched out in the sun. The exhibition continues with a dialogue between portraits of the guests and details of the places where they live, ending with a diptych of portraits. Mohamed avoids producing pietistic or stereotyped portraits, he prefers to portray people in their individual humanity and he doesen’t want to tell their stories. You need to go beyond piety to accept otherness.
_ The relationship between geometric structures and portraits is a stylistic and narrative choice of the photographer, who create the composition to capture the gaze, to push it to pause and to take time. This shots activates a thought that does not stop at the surface but is able to savor the message of the image, to discover its true content.
In the residency survey were also created two ‘tales’, here exposed, which try to look from inside the world of SPRAR and volunteering, accompanied by images of Aboubacar Kourouma, guest of a reception centre.
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