As part of the thirteenth edition of the Dromos Festival “The tales of the veil”, in the spaces of the Parco dei Suoni of Riola Sardo was inaugurated Muc(h)ador, the collective exhibition that proposed a selection of works by Alessandro Biggio, Giulia Casula, Maimouna Guerresi, Maria Antonietta Mameli, Sukran Moral, Giulia Sale, sand the artists called to interpret “The Tales of the Veil”, the title of the festival which identifies the veil as a central element full of meaning in countless cultures of the present and past (including the Sardinian one).
The Dromos Festival, which for some years together with the MAN Museum has been building the possibility of happy coexistence, is configured as a collector of a plurality that is part of our experience, too often relegated to crossword boxes that quickly transform into unsolvable puzzles and charades. The complexity that once again we want to restore here is just a simple underlining compared to the richness, the overflowing abundance, the infinite tide of combinations that is lavished on us simultaneously and simultaneously by the world, in which coexistence and contamination between the angles appears easy of vision and gaze and the story through sound images that constitutes the architecture of the festival, where the works of the artists of the exhibition Muc(h)ador they fit happily into the evocative scenery of the Parco dei Suoni di Riola, a place of alienating suspended beauty that has never been sufficiently celebrated.
The theme and the game of references in the title find close and distant assonances, moving from the center of the Mediterranean to the Middle East, still saying the bonds that culture never stops weaving through time and people, still saying that the same culture spreads a veil that we have to lift aside to see the thing in itself, the naked thing, the nudity. A seeing without mediation, a direct confrontation with ourselves and our perception, without frills, without deception, without seduction, raw, to suddenly discover the intimate necessity of the secret, of the mystery, of the unattainable, of the propulsive and subversive force of desire and prohibition. Muc(h)ador it is an invented term, an Arabic-Sardo-Catalan linguistic hybridism, an in vitro contamination, a forced cross-breeding, certainly ironic, but not irreverent towards cultures and traditions which – with chador Islamic and with on muccadori Sardinian – have their roots in ancient and still very much experienced rituals. And yet, precisely in order not to fall into insidious traps of an etymological and/or ethnographic nature, the six artists skilfully avoid them, avoiding direct references to anything that in some way could recall demo-anthropological situations that are completely inappropriate with respect to the horizons of contemporary artistic research.
That veil, that headdress-garment, so symbolic and icastically coercive, is torn, crossed, overcome, in search of a much more allusive and oblique dimension. Micro and macro stories that transform it into a limit, into a hypnotic and founding ritual, into pain and illness, into oppression and a claustrophobic prison, into a simple support, into that sensation of mysterious absence, both looming and evanescent, that art can only evoke , do not represent.
