Pasolini, in his pseudo-documentary “Appunti per un’Orestiade Africane” (1970) radicalizes an aesthetic of the unfinished, characterized by the desire to traverse metadiscourse, political thought, and aesthetic experimentation. This generates a political essay on the invention of freedom and a reflection on the post-colonial condition of the newly independent African countries. However, Pasolini incurs in a paternalistic, ethnocentric vision: democracy is tacitly presented as the Western model which they should simply accept. The use of a European text to discuss African History is questioned. Aeschylus’ Orestiade, which describes a cycle of deaths, bloodthirsty family vendettas, brought to an end by the arrival of the conciliatory justice of Pallas Athena, thus ideally creating the first democratic tribunal in history- is performed in Gibellina (Sicily) at the magical Cretto di Burri, a place that commemorates trauma, the violence against the land, the people. Is the concept of Democracy universal after all?

Bio: Spanish visual artist and photographer, co-founder of Cinema “La Enana Marrón.” She lived in Mali, researching the construction of the African imaginary, processes of colonization/decolonization, and new strategies of colonialism, as well as African feminisms diversity. Her work has been showcased at various international festivals and biennales.
She has published two photobooks: “PICNOS TSHOMBÉ” (Landskrona Award 2017) and “WOMAN GO NO’GREE” (Vevey Images Photobook Award and Aperture Paris Photo Best Photobook of the Year 2020). She has been nominated for the Prix Elysée 2022-2024 and Foam Paul Huf Award, and has received awards including Fotografía Europea 2022, Fotofestiwal Lodz Grand Prix 2019, Encontros Da Imagem Discovery Award 2018, PHOTOMED 2019, Meitar Award for Excellence in Photography 2019, and PhotoChronicles Portrait Award 2019.