Francesca Cirilli
Francesca Cirilli

HABITAT (2011)

Turin, 2011. Former factory FIAT Grandi Motori - historical symbol of the big production of FIAT, as well as place of partisan' and workers' struggles, was since October 2010 being cleared after years of neglect. The imposing, scaring and fascinating emptiness of industrial archeology, effect of the decadence of the traditional factory system, reveals itself as actually filled by homeless and hopeless migrants, new orphans of contemporary society. In the globalized world, where migration is moving huge floods of people and work is getting more and more precarious and spoiled of workers' rights, the narration of the empty spaces of the factory and of the interstices filled by the intimacy of its inhabitants, become a symbol of contradictions implicit in the idea of progress capitalistic and neoliberistic society is based upon. The space becomes habitat, the physical space for a sort of living, the place that permit, and only offers, a possibility for survival.

 

THE FACTORY IS FULL project is composed by:

 

– Habitat. Photographic project


– The factory is full - Tragicomedy in eight acts. Documentary film (director/subject/screenplay Irene Dionisio, cinematography Francesca Cirilli, concept Irene Dionisio and Luiz Antonio Pinho Jr, editing Alessandro Baltera, sound Matteo Marini, prod. a.titolo, executive production BabyDocFilm, Piemonte Doc Film Fund, 55', 2011 – concept by Irene Dionisio and Luiz Antonio Pinho Jr)

 

– The factory is full. Video installation (2 channels video, Francesca Cirilli, Irene Dionisio, Luiz Pinho Jr, 2011, 17'30'')

HABITAT (2011)

Turin, 2011. Former factory FIAT Grandi Motori - historical symbol of the big production of FIAT, as well as place of partisan' and workers' struggles, was since October 2010 being cleared after years of neglect. The imposing, scaring and fascinating emptiness of industrial archeology, effect of the decadence of the traditional factory system, reveals itself as actually filled by homeless and hopeless migrants, new orphans of contemporary society. In the globalized world, where migration is moving huge floods of people and work is getting more and more precarious and spoiled of workers' rights, the narration of the empty spaces of the factory and of the interstices filled by the intimacy of its inhabitants, become a symbol of contradictions implicit in the idea of progress capitalistic and neoliberistic society is based upon. The space becomes habitat, the physical space for a sort of living, the place that permit, and only offers, a possibility for survival.