EXIL is – in every respect – a party.
The engine that drives EXIL is the desire to make the audience more active than in the traditional places as Clubs and similar. We try to make it happen without an invasive action: we don’t impose a movement, we create it together. We create conditions in which the presence is continuously regenerated, where the community could take substance and where the meeting is real. EXIL wants to return to the primordial values of celebration and fun, and use it to create connection between the people who lives in our city. This framework allows us to perceive desires and needs, and to put different realities in the same place, realities who perhaps would never have meet each other.
EXIL was initially intended to provide funds for Strasse projects.
Given the precarious situation in which we are forced to work and define our professional status, as artists, in Italy; given the desire to continue pursuing and protecting our work, sharing and nurturing it, EXIL is one way to guarantee a minimum level of economic sustenance.
We don’t make a profit out of EXIL, we get even - if we get even -, with production expenses.
EXIL is therefore a form of self-financing that allows us to keep doing our job. It’s the most natural form of funding we have found so far, the closest to our way of perceiving and living the urban environment, the relationships and opportunities that the city offers, out of the deep necessity to share a time and a place together with other people.
EXIL is also the expression of an urge to narrow the gap between the artistic milieu and the political and cultural entities often unaware of each other, in the attempt to connect them with the various urban spaces. EXIL is supported by the volunteer work of the artists who each time accept our invitation to throw a party, a special night.
EXIL is a crucial moment for gaining awareness on sharing experiences, both as artists and as individuals. It reflects the need to join different contexts, to explore, to open new doors, and to keep them open. The need to protect this desire comes even before our own individual work. It’s the need to feel togetherness, to know that we are not alone. It’s a feeling of potentiality. By holding a firm ground on our shared stance, on our apparently fragile working condition, we are a legion in the making, a legion of flesh, skin and blood.
The precariousness of our work forces us to adjust to any condition, to be open with each other, to be understanding. It has given us the tools to be constantly elsewhere, it has taught us that no one owns a specific art field. Art is how you use it, it’s what you make of it. Our background as unprotected experimentalists defines us, forcing us to accelerate, change, transform, preventing us from growing into a long-term project with a structured identity. We accept and subvert the challenging conditions that we did not choose and do not control.
So we keep on working as waiters, clerks, gardeners, housecleaners, authors, performers, filmmakers, producers, administrators, and promoters, working for various companies while we work at our solo. We’re fine with that. Because in the meantime we take, we take, we take. We take it all. We realize that this condition is our strength: it keeps us open-minded, allows us to know each other and bring into our work everything that is outside and vice versa. It gives us the opportunity to look at ourselves, build constructive relationships and discover that we are alike, wishful, autonomously centered. It allows us to understand that art is not a sealed box, but something that is already circulating out there. We don’t create it, we grab it and display it, for everyone to see.
So what are we afraid of? Why should we be afraid? We’re beautiful and shiny. We are meeting, confronting and getting to know each other. Our fear, our uncertainty, our fragility is our beauty, our strength, our yearning for flesh, structure, heart.
We’re not romantics — yet we are. We’re not terrified — and we are. We are indeed. Obviously. We know little and yet we know, and we trust, otherwise we would have already quit. We don’t want to defend but to protect ourselves. And above all, we want to be exposed.
Among those who participated in and supported EXIL: Enrico Malatesta (musician), Flavio Scutti/Inland Empire (musician), Dafne Boggeri/Tzazicky&Crack (visual artist, dj), Silvia Calderoni (performer), S/he (dj), Davide Tidoni (artist, sound researcher), Meteor (band), Arianna Vairo (illustrator), Nicholas Schiraldi (painter), Leila Gharib and Sonia Brunelli/Barokthegreat (performers), Fuzz (musician, dj), Marleen Scholten and Lizzy Timmers/Wunderbaum The New Forest (performers), Zinzi Minott (performer), Anna Magni (illustrator), Palm Wine (dj), Giulia Tosi (dj), Router (Radio show for Radio Onda D’Urto).