INDOSSO LA MIA TELA, LA CAMICIA BIANCA DI COS
Un viaggio, intenso, dentro e attraverso l’arte. Tre storie di persone altrettanto intense, filo conduttore, tratto comune oserei dire, una grandissima sensibilità: Roberto Altamura (www.thedummystales.com/the-dummy-meets-roberto-altamura), Gaia Calimani (www.thedummystales.com/the-dummy-meets-gaia-calimani), Antonio Syxty (www.thedummystales.com/the-dummy-meets-antonio-syxty). Con loro tre modi diversi di vivere l’arte: rispettivamente la danza, il teatro, l’arte concettuale. E ancora, dentro e attraverso l’arte tre racconti per immagini: la ballerina (www.thedummystales.com/the-dancer), la Medea (www.thedummystales.com/a-modern-tragedy), la donna emblema degli evanescenti anni ’80 (www.thedummystales.com/strike-the-pose-2). Voci diverse per storie diverse. Eppure in tutte la stessa uguale suggestione, lo stesso fascino, la stessa parola: arte. Un viaggio di ricerca il mio. Dentro la danza per intuire il fascino di una meccanica, quella del corpo, che sapientemente educata può diventare elegante poesia. Dietro le quinte della recitazione per spiare la magia delle persone che da uomini si trasformano in attori. Un modo discreto per posare lo sguardo sulle fragilità umane. E per finire, nello studio di un artista che all’indagine ha dedicato tutta la sua vita. Alla ricerca dell’identità passando per l’arte concettuale, l’arte che ha per materiali i concetti e nel nostro caso il denaro. Tre scenari diversi utili anche a indirizzare l’obiettivo della macchina fotografica su tre diverse figure di donna caratterizzate da altrettanti e diversi tratti dominanti. La dolcezza di una giovane danzatrice. La complessità di un’intensa Medea. La sfrontatezza colorata di un’icona anni ’80. Storie di uomini e donne. Persone e artisti. Alcuni veri, altri veri solo nella mia fantasia. Eppure tutti indistintamente collocati dentro l’angusto spazio di un Paese che offre poche risorse all’arte e agli artisti. E non si tratta solo di risorse economiche. Si tratta, in maniera strutturale, di mancanza di progettualità, di scarso impiego di energie spese a livello centrale per il settore dell’arte. Questione di soldi? Anche, mi vien da dire. Ma Antonio Syxty con il suo progetto Money Transfer l’ha raccontato molto meglio di me. E con lui, di proposito, ho voluto concludere il mio viaggio. Che è stato di sola andata, perché dall’arte non si torna indietro.
THE DUMMY REVEALS ITSELF WHILE WEARING COS WHITE SHIRT
An intense journey in and through art with three people who although are so different from one another, have one thing in common, sensitivity. Roberto Altamura (www.thedummystales.com/the-dummy-meets-roberto-altamura), Gaia Calimani (www.thedummystales.com/the-dummy-meets-gaia-calimani) and Antonio Syxty (www.thedummystales.com/the-dummy-meets-antonio-syxty) can be seen as three different paths that lead to art, consequently they make you experience art in their own and unique way, hence dance, theatre and conceptual art respectively. Along these paths they recount three different journeys into art by means of images such as the Ballerina (www.thedummystales.com/the-dancer), Medea (www.thedummystales.com/a-modern-tragedy) and The illusory 80s (www.thedummystales.com/strike-the-pose-2). I was struck and smitten by every single picture and therefore by the way these artists express and convey art. I have been on a journey researching into performing arts like dance for instance in order to fathom and grasp the significance of the body movement. To me it is like a mechanic thing that while moves on the one hand is extremely charming and recalls a lithe and ethereal being, on the other hand, it evokes a seductive and captivating poem. Likewise, this has been a journey behind the scenes, to spy on the magic of these people who on stage transform themselves into actors. This journey of mine, among other things, has been a very discreet way to approach and analyse human fragility. I ended up in the study of an artist who devoted himself and all his life to investigation into identity, particularly as regards conceptual art. Namely art which is not only something concrete and tangible but first and foremost conceptual. To kill two birds with a stone, that is, to portray identity by means of conceptual art, the artist has utilised money. Three different storylines as well as three different women with different features for the photographer and his camera lens to snap shots of. The sweetness of a pretty young woman dancer, the complexities of the intense Medea, the colourful insolence of an icon of the 80s. Stories of men and women as much as of people and artists. Some are real, others exist only in my imagination, nevertheless they are all living within a gloomy and woeful country (Italy) that lacks resources. I am not only talking about economic ones, that is why this country has little to offer to both artists and art at the same time. Unfortunately, institutions and people who are supposed to look after the field neither put a lot of effort into it nor they make a strong commitment, nor channel their energies into improving the actual situation. Is it a matter of money? I am inclined to think so. Nevertheless, this issue has been fully elucidated by Antonio Syxty’s project Money Transfer. I have purposely decided to end this one way journey, and for one way I mean that whenever one sets out on a journey into art, never goes back.
Photo by Nils Rossi
Translation by Chris Alborghetti
