Where is my place? Where is my home? What country and place can I identify with? The sentiments that bind an individual to his/her own territory and original community have often been associated with the idea of the nation, yet of which over time the connotations have changed, and which especially in recent years has emerged as a concept not so easy to define.

In an exposition itinerary of over 50 works from the contemporary photography, video and art film collection of the Fondazione Cassa di Risparmio di Modena, the show organised by the Fondazione Bevilacqua La Masa and the Fondazione Fotografia, to be held from 4th March until 1st May 2011 in the gallery venue of St Mark’s Square in Venice, comes to terms with the various issues connected to the theme of national identity, with all the evident inherent contradictions and possible perspectives.

While the current relevance of the concept of the nation seems to come under fire from inevitable questioning, its critical points emerge clearly in many of the works by the 18 artists on show which, often based on addressing the original contexts of the various artists, paint a portrait which is far from reassuring.

Throughout the world, ultra-nationalist movements are being founded, albeit a far cry from the ideals of the past. Knee-jerk reactions to the effects of rapid social change, often dictated by particular political-economic interests, find a firm footing against the scenario of contemporary social instability. In the sharp analysis offered by the video of Renata Poljak, an image is created of the newly-founded Croatian society in which nationalist tensions are blurred with a widespread tendency towards of social climbing throughout the classes, as well as the legacy of violence which has marked the recent history of the country. The balaclava with the Romanian flag worn by Alexandra Croitoru against a background of tropical beaches and holiday resorts ironically reflects on the ever more deeply rooted nationalism in her country, while reminding us at the same time how national belonging – so strongly felt at home – once abroad becomes a distinguishing characteristic which it is then no longer possible to get rid of.

The surrounding reality is the field in which to seek out and continually refer back to one’s own personal as well as collective identity. And the ‘national’ identity does not always seem to emerge as a category directly representative of the individuals who are part of it. Anastasia Khoroshilova’s portraits of the Russian population are the result of her scouring the length and breadth of her enormous country in search of tangible signs of national community. Her major project led her into contact with a range of different peoples, however, linked more by traumatic historical events than by any real cultural kindred spirit.