E 'has now been a month since the Teatrino Clandestino of Bologna has made the changes and changed skin. Outside, at least, because inside is the same, great price, think-tank, trade and culture as it ever was.
So we decided to look for someone who had a good project for a new installation for the door of the visual space is , studio core of artistic production and research of the theater. An installation that remain in line with the previous one, that was marked by the lively "shades of orange, which, like a lighthouse, was index of openness to others and to other , in the words of Fiorenza Menni, including the originators of the project.
More or less the same period (mid-January) it happened that cultural freedom, the possibility to choose che cosa leggere, veniva messa in discussione poco distante, in Veneto, da alcuni loschi figuri (per chi si fosse perso qualche puntata o l'intera serie, o per i più fragili di memoria, consiglio di leggere qui , qui e qui per farsi una prima idea, sono ottimi trampolini per dedali di link).
Cosa accomuna questi due avvenimenti, tra l'altro all'oscuro l'uno dell'altro? Non molto, ma allo stesso tempo un sacco di aspetti.
Adesso ci arrivo.
Il progetto che ha vinto il bando per la porta del Teatro è stato Antipanico, del giovane artista bolognese Marcello Spada. L'opera è stata realizzata pensando, parole sue:
Every barrier to the private sphere or, as in this case, a public place surrounded by walls that actually make it private, it is broken. A place culture, research, study and experimentation, in itself wide open and where you can sound out various forms of expression, is able to overcome their limitations and opens the road to those who you want to pull over. And it does so strongly emphasizing the culture in recent years has been riddled by shots of the most dangerous form of violence. That disguised meanness and ignorance.
The author is unaware of what is happening not far from him on the same days in which designs and shapes the work. But despite this, it is full of stench and toxins that are increasingly plagued every socio-cultural context. We grew up in the middle, has developed antibodies that enormous self-employment at the minimum echo infectious.
For this arrangement of the sixteen peepholes is well designed and not random.
addition, it is also a remembrance, not to forget stored underneath the glass wall that, as stated by the artist in this interview, may be considered a work already ' art in itself. A historical stratification preserved entries and references from which the vast scope (just think that the story of the episode, made by a friend at a third grade teacher, did turn up their nose because some parents felt little reliable and has too many cones of shadow ).
I pass that door twice a day, five times a week, warmed by the thought of the strange thread that is rolled up in January, with changes transtemporal around to libraries and theaters, schools compulsory and expression, Preganziol, Bologna, and many other places inside and outside of his boot, and the various forms that the social struggle can take on, every time I've been so battered by that yellow electrical pulses under the porch.
Panic.
There could be no more apt word than that.
More or less the same period (mid-January) it happened that cultural freedom, the possibility to choose che cosa leggere, veniva messa in discussione poco distante, in Veneto, da alcuni loschi figuri (per chi si fosse perso qualche puntata o l'intera serie, o per i più fragili di memoria, consiglio di leggere qui , qui e qui per farsi una prima idea, sono ottimi trampolini per dedali di link).
Cosa accomuna questi due avvenimenti, tra l'altro all'oscuro l'uno dell'altro? Non molto, ma allo stesso tempo un sacco di aspetti.
Adesso ci arrivo.
Il progetto che ha vinto il bando per la porta del Teatro è stato Antipanico, del giovane artista bolognese Marcello Spada. L'opera è stata realizzata pensando, parole sue:
ad una porta sulla strada come ad un limite privato, una possibile dimensione sconosciuta alla quale si accede grazie alla volontà di qualcuno all’interno.
L’accesso del Sì possiede questa connotazione “privata”, ovvero se non fosse per il suo colore arancione potrebbe sembrare una porta qualunque.
Il confine di ogni proprietà privata è segnato da una soglia in cui si colloca un dispositivo di sicurezza.
Tale dispositivo funge da barriera che limita l’accesso e spesso è accompagnato da altri strumenti di visione e di ascolto per verificare l’identità di colui o colei voglia entrare (spioncini, citofoni, video telephones). The private
threshold is marked by a polarity inside-outside (...) oriented inward.
I thought to reverse this polarity, with 16 optical peepholes on the door Yes
that allow everyone in Via San Vitale 67 steps to look into.
Whoever is impelled to look through peepholes one of these will generate the curiosity of others, triggering a chain reaction. A generator of temporary communities united by attraction to the unknown.
Every barrier to the private sphere or, as in this case, a public place surrounded by walls that actually make it private, it is broken. A place culture, research, study and experimentation, in itself wide open and where you can sound out various forms of expression, is able to overcome their limitations and opens the road to those who you want to pull over. And it does so strongly emphasizing the culture in recent years has been riddled by shots of the most dangerous form of violence. That disguised meanness and ignorance. The author is unaware of what is happening not far from him on the same days in which designs and shapes the work. But despite this, it is full of stench and toxins that are increasingly plagued every socio-cultural context. We grew up in the middle, has developed antibodies that enormous self-employment at the minimum echo infectious.
For this arrangement of the sixteen peepholes is well designed and not random.
The locations of the 16 holes, where to apply the peepholes corresponds to the bullet holes in the wall of Mascarella Street, where it was shot to death Francesco Lorusso on March 11, 1977.The value assumed by the peepholes is therefore twofold. Symbol not only opening to the outside, to every wanderer wandering, his stories and experiences, but also of the shots against a space in which we meet to discuss contemporary of resistance, in which we can compare and all'aletrità open. Perfect allegory for the treatment of the culture in Italy and its reorganization as a result.
addition, it is also a remembrance, not to forget stored underneath the glass wall that, as stated by the artist in this interview, may be considered a work already ' art in itself. A historical stratification preserved entries and references from which the vast scope (just think that the story of the episode, made by a friend at a third grade teacher, did turn up their nose because some parents felt little reliable and has too many cones of shadow ).
Panic.
There could be no more apt word than that.
[ NB The last photo was taken and belongs to Nicholas Morgan Gandolfi
Other photos and images were taken and belong to Marco Spada.]
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