“Unthought Known”
Contemporary science demonstrates that it is possible to take significant steps in understanding human be through a cross-disciplinary approach.
We already know that ‘Art’ can enrich the working spaces but we also believe that art or ‘creativity’ in its broadest sense, can play a fundamental role in helping people making changes in their individual and/or social life.
We also intend to focus on a concept that does not want to confine itself or to be confined with the artistic creation but that wishes to capture that place where the emotional encounter is articulated between multiple phenomena at the same time. These are phenomena that intertwine our emotional and neuro-sensorial world and can be promoted by art. Hence the importance of establishing a ‘dialogue’ that gives space and time to this process.
According to Winnicott (1951), we know that the possibility of grasping a more intimate internal dimension leads us to think of the 'transitional space' as a space of experience between the internal and external world to which both areas contribute and from where new creative possibilities can arise.
Project
Dreams, while belonging to the individual unconscious, are also co-participants of emotions of the community as each individual lives within social groups. Particularly in the intense period of time in which we are living, where it is very difficult to make predictions for the future and where a sense of fear and uncertainty is increasingly prevalent, it becomes interesting to resort to the dream’s wisdom to approach / observe emotional currents from which we are crossed.
This project is not limited to observing, but also has the ambition to co-participate within a real transformative process.
We know that the term "dream job" also means the possibility of processing traumatic situations. We know, in fact, how the post-traumatic dimension "psychologically and neurologically" switches on the dream world.
Any individual viewing a work of art, or any kind of image, calls into play not only vision, but also the motor and the somatic-sensory nervous systems as well as the circuits presiding over our capacity to feel emotion (Gallese V., 2010).
At the end of that experience, participants collaborate in the production of an exhibition, installation, event, or other manifestation and expression of their learning.
Several steps:
The project starts considering some introductory notes about the 'dream'
- Historical cultural overview, value of the dream and its uses
- Psychological implications that cut across different geographies and cultures
- From shamanism to psychoanalysis and neuroscience
Dream as a transformative process of emotions
- Dream proceeds through images
- Emotions like 'pre-verbal' constructs
- Transformation of emotions into 'emotional pictograms' of the dream
- Emotions become images
How images become representative forms of an affective situation that begins to articulate itself
- The images collected from dreams become narratives
- From the narrations we gather elements that will later be transformed into new images
- Transformation in ‘images of the vigil’ through the artistic process
Methodology
Phase 1:
Collect dreams from students who make themselves available (students within courses related to 'art' or forms of 'artistic creativity.
The collected dreams (written by each dreamer in the most 'unsaturated' way possible, that is, in a way faithful to memory, but without 'literary' concerns, nor of excessive control). All this goes to 'weave' a collective dreamlike tale.
Phase 2:
From this collection (dreams), recurring or otherwise relevant elements from a hermeneutic and symbolic/interpretative point of view will be gathered.
Phase 3:
The picked-up ideas become a stimulus for artistic productions by the participants
(short writings, poems, drawings, paintings, sculptures, music, videos).
Phase 4:
Art becomes public
Plan an exhibition in New York and an exhibition in our spaces in Venice
In collaboration with: www.castello925.com