Palermo, May 18, 2018.
The boys are busy gathering wood for their neighbourhood blaze, a mountain of old things to burn but also a primitive architecture to build and a tower to observe from. Their fire is the highest in Palermo and nobody can turn it off because the oranges are ammunition and the boys are ready to fight.
The ritual of “vampa di San Giuseppe”, coinciding with the transition from winter to spring, is a testimony of the passage of pagan elements absorbed by the territory and made significant according to the Christian cult. The fire represents the destruction of all that anguishes the community, but it is also a regenerator, a promoter of the welfare of crop and man. This ancient practice is poised between tradition and legality, being considered dangerous for the city. For this reason it is carried out by underage boys, who can't be prosecuted.

The collective exhibition takes place in the city of Palermo, as a collateral event of the twelfth edition of the Biennale Manifestation (16th June – 4th November 2018): TALPE. Well said, Old mole curated by Marta Cereda and Laura Lamonea. The exhibition is an exploration throughout the corridors and classrooms of the Liceo Classico Umberto I. The concept of the exhibition comes from the first pages of The Planetary garden by Gilles Cléments. The author tells an episode of his childhood: while his father and his oncle are catching the moles, the young Clément thinks that these animals can be very useful for the garden because continuously they move the soil helping to keep it rich.The mole spends most of his time underground, digging holes. Despite the submerged life, frequently the word in relation to the mole is extermination.
The exhibition presents selected works by mole artists, whose research focuses on uncomfortable or neglected aspects of the reality. The mole artists are able to observe hidden details. They deal with themes repaired from the politically correct attitude.

Curatorial Statement.             
Video Sound Art has invited the artist to narrate through her picture the parts of Palermo she discovered during a residency. Francesca spent a lot of energy to get in touch with people and contexts. I had the impression of seeing things and gestures of documentarians such as Jean Rouche, everything seemed spontaneous. One night I saw her so tired that I thought she wouldn’t be able to go back to Dannisinni the day after, and instead, eating sandwich with provola in the square, here she is againm performative. Francesca engages in situations with her whole body, sometimes it is an endurance struggle.