10/05/2026
🔷 𝐕𝐢𝐬𝐢𝐛𝐥𝐞 𝐚𝐧𝐝 𝐈𝐧𝐯𝐢𝐬𝐢𝐛𝐥𝐞 𝐋𝐚𝐧𝐝𝐬𝐜𝐚𝐩𝐞𝐬 🔷 a documentary film screening
𝐌𝐚𝐲 𝟏𝟐, 𝟐𝟎𝟐𝟔, 𝟓:𝟎𝟎 𝐏𝐌
Euroregions Cultural Center – Stara Rzeźnia, Szczecin
𝐹𝑟𝑒𝑒 𝑎𝑑𝑚𝑖𝑠𝑠𝑖𝑜𝑛
The documentary film 𝑉𝑖𝑠𝑖𝑏𝑙𝑒 𝑎𝑛𝑑 𝐼𝑛𝑣𝑖𝑠𝑖𝑏𝑙𝑒 𝐿𝑎𝑛𝑑𝑠𝑐𝑎𝑝𝑒𝑠 gathers, through evocative images and music ranging from traditional to contemporary, the research work carried out by Opera Network within the CAPHE Project and shared with the partners. The research is led by Carla Zanin, the initiator and president of Opera Network, and Federico Bardazzi, music director, who both have been developing innovative activities in the field of performing arts for years. With the aim of systematizing the multiple artistic, musical, and literary materials produced during the project, Opera Network has designed a series of interactive VR Galleries on the spatial.io platform, which will be explored within a dedicated workshop by the audience at the end of the screening. A Q&A session will follow.
VR environments, video editing David Tozzi, 3D scanning Guido Paolo Longo, traditional instruments sampling and sound engineering Nicola Cavina, 360 video shooting Federico Bardazzi and Carla Zanin.
The event will be accompanied by interactive activities and multimedia elements prepared by students of the Academy of Art in Szczecin coordinated by Jan Jakub Filipowiak and Karolina Kaleta.
The program foresees a compelling musical introduction by the Youth Choir of Liceo Artistico Musicale Cardarelli La Spezia prepared by Sergio Chierici and accompanied by Emanuele Pugliese.
The film is a 𝐫𝐞𝐟𝐥𝐞𝐜𝐭𝐢𝐨𝐧 on the theme of landscape, seeking to move beyond a purely aesthetic viewpoint and instead exploring the 𝐫𝐞𝐥𝐚𝐭𝐢𝐨𝐧𝐬𝐡𝐢𝐩 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐞𝐧𝐯𝐢𝐫𝐨𝐧𝐦𝐞𝐧𝐭 𝐚𝐧𝐝 𝐡𝐮𝐦𝐚𝐧 𝐩𝐫𝐞𝐬𝐞𝐧𝐜𝐞 as a generative force — an “effect” through which landscapes come into being. This relationship is a powerful bond that inexorably links the two subjects — humanity and nature — and expresses itself through the visible, which we can experience directly and immediately, and through the invisible: a majestic presence that exists beyond the limits of rational understanding.
Landscape, therefore, is not merely geography or visual beauty. It is the outcome that emerges when the environment interacts with people. It arises from an inevitable connection between places and human activities. Every form of the land reveals this constant interconnection.
The 𝐯𝐢𝐬𝐢𝐛𝐥𝐞 𝐥𝐚𝐧𝐝𝐬𝐜𝐚𝐩𝐞 is powerful and captivating, striking instantly. It is bold, almost brazen.
The 𝐢𝐧𝐯𝐢𝐬𝐢𝐛𝐥𝐞 𝐥𝐚𝐧𝐝𝐬𝐜𝐚𝐩𝐞, on the other hand, expresses itself through an intimate dialogue, through 𝐭𝐡𝐞 𝐥𝐚𝐧𝐠𝐮𝐚𝐠𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐬𝐚𝐜𝐫𝐞𝐝. It is inner, emotional, mediated by subtle energies.
Just as Orpheus “spoke” through his lyre to wild beasts, and made the trees and the stones move toward him. As Dante wrote in the Convivio: “as when Ovid says that Orpheus, with his lyre, made the wild beasts gentle and moved the trees and the stones toward himself.”
In the same way, the Kenyan communities of the south-eastern regions — the Digo villagers, rooted in an animist tradition — address to the baobab, the sacred tree, regarded as a Goddess, to seek healing and miracles.
And they believe in Mama as the sacred primordial energy embedded in the land.
The earth is not inert matter but inhabited presence, sustained by a sacred maternal principle.
For them, 𝐭𝐡𝐞 𝐨𝐜𝐞𝐚𝐧 𝐢𝐬 𝐚 𝐥𝐢𝐦𝐢𝐧𝐚𝐥 𝐬𝐩𝐚𝐜𝐞 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐭𝐡𝐞 𝐯𝐢𝐬𝐢𝐛𝐥𝐞 𝐚𝐧𝐝 𝐢𝐧𝐯𝐢𝐬𝐢𝐛𝐥𝐞.
In this relationship between nature and humankind, even the mere presence of a human being interacts inexorably with natural environment: a footprint pressed into the ground, a human scent caught by a wild animal—everything enters into a relation of exchange, generating a new landscape, both visible and invisible. They become co-creator, participating-through an action filtered by experience-in redefining the very expression of the natural heritage. 𝐖𝐡𝐲, 𝐭𝐡𝐞𝐧, 𝐢𝐬 𝐡𝐮𝐦𝐚𝐧𝐢𝐭𝐲 𝐧𝐨𝐰 𝐬𝐞𝐞𝐧 𝐚𝐬 𝐭𝐡𝐞 𝐞𝐧𝐞𝐦𝐲? It began when we ceased to relate to nature as something sacred—𝐰𝐡𝐞𝐧 𝐰𝐞 𝐬𝐭𝐞𝐩𝐩𝐞𝐝 𝐨𝐮𝐭 𝐨𝐟 𝐫𝐞𝐥𝐚𝐭𝐢𝐨𝐧𝐬𝐡𝐢𝐩 𝐚𝐧𝐝 moved 𝐢𝐧𝐭𝐨 𝐜𝐨𝐧𝐬𝐮𝐦𝐩𝐭𝐢𝐨𝐧, into exploitation, into use.
