published Thursday 21 April 2011
Among the techno-visual suggestions and symbolic visions of earth, the epochal musical revivals (Village People beat Michele Zarrillo 10 to 1) that Raffaele Curi and the Fendi Foundation have offered to a Roman public for seven years now, perhaps the most cutting and incisive synchrony with current times lies in the sequence of the camera on the faces of the Rom people, gazing ancestrally into the void, lined up in a camp (refugee or concentration?) accompanied by the melancholy accordion notes of Les Vertes Negres. The words of Alda Fendi (Fendi Foundation) indeed emphasize her personal interest in the issue of diversity, with words and concepts recalling Kennedy (Ich bin ein Berliner ...), "I am a migrant, Rom, Jewish, homosexual, black,” she says. As well as being a patron of the arts in this era of great cultural denials, she has ensured that her personal and professional life has always been a crossing (...) "those faces strike me because they speak as well of me, of us. They do not represent the otherness but the other absolute that dwells within us. That foreign self who lives in us and without whom we would be all the more impoverished, the more insignificant," as if to underline an oft-cited decline which calls for a reversal more in Italian culture than in any other European country which claims artistic and cultural lineage as Italy now struggles to represent.
After the trilogy about power and people, this year Raffaele Curi
addresses the theme of mystery (socio-cultural? Why are politicians ever more incompetent? Or is it personal, as lightness does not help us to be less heavy when we think about the future, even if only the near future?). This spring’s appointment certainly leaves no nostalgia for the international (incomprehensible to us) fashion for the long queues in front of the Old Hebrew Fish Market
at the Circus Maximus in Rome, although we found the insertion of the 80s sounds of Kim Carnes’ “Bette Davis Eyes" in show titled “My Fate, Touched Lightly Like a Butterfly
,” well, difficult. (But what is art, some ruffian might say, if not difficult?)
Among the paintings projected in the lavish and spectacular Cinerama system running around the inside of the market structure, there are citations and flashes of paintings like Piero della Francesca
and of lesser known, but certainly not less artistically important, works such as The Night by Battista Dossi
(brother of Dosso) and the Amalassunta by Osvaldo Licini
, as well as the Kabala and some “naked” Emperors.
All of this before the eyes of the audience standing below a halo of white shirts hanging like empty bodies, like the public also cautious and waiting. And even if someone think that the 'Clothes make the man” and the Emperor sets the fashion ... Raffaele Curi suggests an emperor with no clothes facing the spotlight in all his scenes as lightly clothed as Adam, may not meet with derision of literary fairy-tale origin, but with the now contagious stupor of an audience that can now hardly follow the thread of its own personal assumptions of understanding and participation. Audience and events to which remain, however, a reminder of existential usefulness, as the "Seek not out the things that are too hard for thee, and into the things that are too hidden inquire thou not. In what is permitted to thee instruct thyself; thou hast no business with secret things
by katia simmi
Sfiorerai il mio destino come una farfalla, "My Fate, Touched Lightly Like a Butterfly "
directed by Raffaele Curi for the
Fondazione Alda Fendi
Antico Mercato del pesce degli ebrei, Circo