MUM, I'M SORRY + THAT'S NOT WHAT YOU BELIEVE
Strategy type (tool, event, training course, etc.)
film and experiential workshop
Scope of the practice (local, national, international level)
When did it start?
Person of reference
City and country
1. Describe your project briefly
MUM I’M SORRY is a film born from the dialogue with migrants who survived the long journey and with the dr. Cristina Cattaneo, forensic scientist and anthropologist. It is a close-up gaze on the details of stories and affections belonging to lifeless bodies. The objects chosen as essential, as “home” to take along on a journey with no return, the pictures, the pieces of paper with written-down phone numbers speak of a past and suggest hopes of new perspectives. It has been produced by Careof Milano and Sky Arte. Born as artist mediation project for the film MUM, I’M SORRY, That’s not what you believe it’s a workshop inquiring the narrative potential and the value of personal objects, and a collection. The objects belonging to our daily lives are silent witnesses of what they absorb from these lives; they are mute carriers of stories, memories, cultural and gender contexts, historical times. These objects are the focus of an individual as well as shared interrogation and narration. The personal and collective experience blend together, creating a deep moment of sharing and exchange: telling about oneself through the others, and vice versa, creating a short circuit between what it is and what is believed to be.
2. What is the aim of the project?
With the film I intended to shine a light on the experiences of these migrants and their neglected identity. The workshop is born with the aim to create an emphatic situation in which, through a creative and intimate practice, people would shift their vision trying to put themselves into somebody else shoes.
3. Who was involved in designing process?
4. If you could change something, what would you change?
5. How do the project impact on civil society?
I think that through the workshop experience, people that are not so much into contemporary art or film can try on themselves and experience and emphatize with what the film talks about.
6. How do you evaluate the project’s impact?