2006. The Way to Jerusalem: when a polystyrene wall made more noise than expected

Travelling photographic exhibition between Molfetta and Castellaneta (TA): Holy Land, intercultural dialogue... and a night when someone decided to 'participate' in their own way.

Context and objectives

The heart of the project was (and is) intercultural dialogue in the Mediterranean: bringing together different perspectives, memories and sensibilities through art, photography, music and video installations.

Three artists, three different languages, one direction.

My role

I was responsible for video projections, graphics, communication and some photographic installations.

Among these was also a striking element that welcomed visitors: a wall (made of polystyrene), already installed in Molfetta, which almost blocked the entrance to the Hospital of the Crusaders. It was designed as a symbol of the wall that divides Israelis and Palestinians.

A dramatic gesture to emotionally engage the audience, who had to cross that wall to access the events.

I was responsible for the video projections, graphics and communication for the event. I transformed a reportage made in the Holy Land during a trip with the Franciscans into a visual narrative made up of images, rhythm, editing and stage presence.

In practice: I sought a balance between emotion and technique.

Partners and network

- Music: Giovannagelo de Gennaro – an evocative soundscape;

- Art installations: Paolo de Santoli – works and installations that filled the space with meaning, not noise;

- Me: images, videos, graphics and storytelling – the thread that tied everything together.

Results

After Molfetta, "La Via di Gerusalemme" arrived in Castellaneta in 2006. The idea was the same: an immersive experience that symbolically retraced the pilgrims' journey to the Holy Land, to talk about spirituality and inner journey without preaching.

In Castellaneta, however, reality decided to enter the scene uninvited: the night before the inauguration, some of my photographic installations in the town's central square and that wall were burned and destroyed.

I still remember the feeling: not just anger, but also an unsettling doubt — the kind that makes you realise that the symbol had reached its destination.

If a work of art causes a stir, it means it has struck a nerve. And yes, I would have preferred a less... inflammatory nerve.

The story even made it into the press: La Gazzetta del Mezzogiorno, 3 October 2006, with a headline that left no room for interpretation.

If you want to put together an exhibition or cultural event that is not only 'beautiful to look at' but also capable of raising real questions, let's talk about it: I am still interested in that precise point where art stops decorating and starts disturbing (in a good way).

Further information

press > https://www.exibart.com/artista-curatore-critico-arte/gaetano-armenio/

video >  https://www.youtube.com/watch?v=NTe_AagoCW4&t=220s

2005.Realization of a video-photographic reportage on the processional rites of Sicilian Holy Week, a work that captured the depth and spirituality of Easter traditions in some of Sicily's most emblematic municipalities. This project was carried out with the collaboration of theToscana Photography Workshop and under the expert guidance of tutor Andrea Pistolesi, known for his contributions to contemporary photography .

The reportage took place in the towns of Barrafranca, Enna, Scicli, Sortino, Melilli, Trapani and Ferla, places renowned for their processions rich in history and spirituality. 

The images and videos collected during this art project were subsequently presented in a series of audio-video-photographic projections that took place in Molfetta at St. Peter's Church on March 11, 12 and 13, 2005.These artistic displays offered the public a visual immersion in the rites of Holy Week, enhancing the link between art and religious traditions.

To complete the event, the theatrical performance by actor Ninì Vernola added a dramatic and engaging dimension to the experience, making the event an important opportunity for cultural dialogue and spiritual reflection. This cultural event thus represented a meeting point between different forms of artistic expression, consolidating the importance of photographic reportage as a tool for visual storytelling and historical documentation.

press: www.exibart.com/evento-arte/gaetano-armenio-misere

1996. It was my first exhibition - a milestone in my artistic adventure. This art exhibition represents a fundamental moment in my journey, born almost by chance thanks to the solicitation of Rosanna Gaeta, owner of the bookstore "La Maria del Porto" in Trani.

The idea of organizing my own art exhibition was born when Rosanna, during a visit to my office, saw some of my graphic and photographic works on display and encouraged me to share them with a wider audience.

Despite the excitement and enthusiasm that had accompanied me in creating this exhibition, I was so overwhelmed with anxiety on the opening day that I did not show up for the opening event of my own exhibition.

However, the graphic and photographic works I exhibited were the result of deep artistic exploration, characterized by visually striking digital processing. I used strong color contrasts to underscore a journey in which human feelings emerge powerfully, highlighting their contrasting vitality.

This first exhibition was held in June 1996 at La Maria del Porto Gallery in Trani and marked the beginning of my journey into the world ofcontemporary art. The event not only allowed me to present my work to a wider audience, but also solidified my passion for art and the exploration of emotions through digital media.

2001. It was a very special experience. This photography exhibition with digital video installations was one of my most daring adventures. I decided to play with digital metamorphosis using large-format cybachrome and video graphics to create something truly unique.

I remember the excitement in preparing the set-up: everything was immersed in darkness, and visitors had to explore the works equipped only with a pocket lamp. I wanted the audience to discover the images slowly, with that subtle tension that comes when you don't know what's waiting for you in the next step.

The atmosphere was made even more intense by a hypnotic, haunting video that accompanied every movement, almost guiding your thoughts as you watched the works. Seeing people interact with this combination of light and shadow, of sound and image, was like letting them enter my world, if only for a moment.

This event was held in the RA Art Gallery in Terlizzi, a place I am particularly fond of because of its ability to welcomecontemporary art with an open spirit. It was an exhibition unlike any other, where I was able to fully express my interest in digital techniques and in exploring the boundaries between the visible and the invisible.