I\O (prototype)

I\O

IO È UN ALT UN AUTRE OTHER YO EU É UM O IST E I N A CÉSAR ME

TRO JE EST E I IS AN O ES OTRO OUTRO ICH A NDE R E R NEGHETTI

SPECIAL PROJECT REALIZZATO IN OCCASIONE DELLA 55. esposIzIone InternazIonale d’arte 55th International Art Exhibition la Biennale di Venezia

SPECIAL PROJECT PROMOSSO DA COMUNITÀ DI SANT’EGIDIO CURATORS SIMONETTA LUX + ALESSANDRO ZUCCARI COMMISSIONER ANTONIO ARÉVALO

come il titolo suggerisce, questo libro non è di un I\O solo ma di N persone. NO\I. siamo connessi l’uno con l’altro. profondamente. perciò vorrei ringraziare e scrivere in questa pagina i nomi di tutti quelli che, negli ultimi quattro anni, mi hanno aiutato in questo lavoro. em modo especial cristina elias e a imprevisível ervilhinha. penso in particolare alle prime persone che mi hanno introdotto in questo universo: simonetta lux, alessandro zuccari, antonella antezza e cristina cannelli. un ringraziamento va anche a tutti coloro che hanno sostenuto I\O, prima fra tutti la comunità di sant’egidio; i professionisti coinvolti nel percorso con il loro inestimabile contributo; colleghi, assistenti, volontari, atei, cristiani, ebrei, mussulmani, buddisti ma soprattutto gli amici e i disabili dei laboratori d’arte di sant’egidio, che, insieme a me, hanno dedicato ore e ore, in modo del tutto gratuito, per rendere questo lavoro visibile. grazie a ivan giordano, davide lemma enrico blasi, alberto rigno, yael leibel, yuko matsuyama, matthew mountford, mark watson, giorgia calò, filippo sbrana, vittorio scelzo, domenico scudero, lucrezia cippitelli, beatriz franco, manfredi marchetti, eleonora carbone, giuseppe di pompeo, maria carosio, giorgia lanino, stefano carmenati,margherita basile, marco antonio nakata, federica palazzolo, simona rampa, sara abou el khair,veronica fadda, paolo del bove, paolo mancinelli, karim ali, flavia abbud, marco resa, angelika wagner, sylvia irrazabal, aniello bosco, maurizio valentini, flavia massimi, mirko ghezzi, daniela parisini, giovanni fenu, francesca scagnoli, diego proietti, annamaria colapietro,annamaria cordone, adriana ciciliani, fabrizio todaro, roberto mizzon, anna canzittu, valeria canzittu, paola canzittu, franco tosi, miralem pavani, gabriele tagliaferro, hirseyo tuccimei, fabio lo surdo, sonia sospirato , micaela vinci, nives iannelli, anna scardullo, daniela boi,chiara ceriani,daniele di silvio, luca piermattei, anna di romano, valerio donfrancesco, ivan marciano,maria grazia galleoni, concetta forestieri, gabriele rucci, maria grazia loreti, marianna caprioletti, cristina caprioletti, elisabetta marino, nadia dell’ariccia, massimiliano tavella, mario la porta, piero biancardi, marilu’ graziano, francesca romiti, federica costanzo, antonella ocera, maurizio bonuglia, claudio bianchi, alessandra russo, gianni oriente, roberto di iullo,leonardo zannoli,sergio ruggeri, carlo papocchia, adriano liberatori, maurizio malara, gina feo, fabio quintanni, lorenzo coppari, luciano di carlo, marzia simonelli, gianpaolo pitzolu, giuliano maire-vigueur, paolo petese, francesca argenti, marzia piaggesi, patrizia franchini, tobia ferrandino, rita la monarca, giulio graziani, maurizio di salvo, angela massa, elena massa, gaetano lanza, barbara mari, lucia bonifaci, mauro galdelli, maria raffaella bertoli, alfredo sioli, fabrizio ciani, mauro policella, sonia ranchino, carlo galloni,roberto cafarotti, rita ulpiani, gabriella tagliarino, alessia de montis, raffaella papetti, maura loria, marzia bosco, moira roscioli, elisabetta petricelli, simone vitali, katia buccinà, barbara piccinini, natalina de prosperi, cristian castellano, paola cecchini, lamberto cucchini, nicola ielpo, linda latini, claudio settepani, stefano amore, giuseppina lasciarrea, laura palmieri, maria crescenzi, donatella scanni, sara sebastiani, vincenzo camelia, patrizia nasini, giuseppina fabale, antonio spadavecchia, julio rosati, fabio ricciardi, silvia fiumano’, patrizia berardi, marco ciucciarelli, francesco cesari, filomena pinelli, fosca tonini, francesca gessi, tamara silvi, teresa pezzella, stefania piccirilli, alessandro ricci, fabrizio prete, biagio passaro, gabriella scafetti, nadia muglia, valentina tecca, isabella gessi, maria manieri, barbara d’andrea, adriana camponelli, michel kouritzke, arturo maggio, patrizia milanese, alessandro medros, antonio padula, rosa generoso, franca piu, sandra bonavolontà, massimiliano pantini, giuseppe vomero, giorgina tumminello, bruna spano’, marco bartoccetti, alvaro antonelli, luigi basso, fabia santoro, sara curcio, cristina grusio,elio meloni, francesca chimenti, anna montanucci, isabella messina, daniela sponticchia, noemi casoni, federico colonnelli, tonino adriani, claudio lanna, rina cananella, alessandro di ianni, donato canaris, bruna mastrofini, emanuele raffaelli, rossana ciarambino, stefania polidori, massimiliano prestandrea, romina parente, francesco galiano, rosaria di leo, daniela galletti, marco nardoni, assunta di roberto, mario arena, alessandro reybechi melin, antonio sannina, marinella galaze, franco fusco, claudia drago, tonino colosimo, umberto concas, mirella pierterg, katia galletti, giancarlo leopardi, emanuela fabi, alberto iumiento, loredana ceccarelli, daniela bellavita, fabio cigoi, giovanni battista la marra, grazia moscato, laura carta, narly bermejo cuadro, stefano miccinelli, rossella della morte, aurelio bagaglini, rita nunzia leva, eddy cristofaro, yasser mahmood, gianluca ticconi, antonio meloni, pia.

CÉSAR MENEGHETTI I\O _IO È UN ALTRO I\O _JE EST UN AUTRE I\O _I IS AN OTHER I\O _YO ES OTRO I\O _EU É UM OUTRO I\O _ICH IST EIN ANDERER

césar meneghetti i/o_io è un altro (special project) i\o _io è un altro è un progetto speciale iniziato nel 2010, un processo creativo ancora in corso e in quanto processo o work in progress infinito soggetto a verifiche (verifica #1, #2, #3, #4…).

INDICE / TABLE OF CONTENT

008 intro 013 016 022 026 030 044 050 058 082 088 102 110 124

_ verifica#01 (i\o su loro / me on them) simonetta lux césar meneghetti’s double emphasis art/reality simonetta lux doppio registro di césar meneghetti arte/realtà opera #16 opera #01 videocabina #03 alessandro zuccari the anti-heroic eloquence of the marginalised alessandro zuccari antieroica eloquenza degli esclusi opera #05 biografie minime/minimal biographies opera #02 kalos>aghatos opera #03 ex-sistentia opera #04 assai mi duole ancora/it still hurts too much opera #09 codici_binari/ binary codes opera #06 lovistori

134

_verifica#02: (i\o e loro = n\oi / me and them = us)

164 170 171 174 175

_verifica#03: (loro su no\i / they on us) mike watson the ability to express one’s self mike watson l’abilità di esprimere se stessi antonio arévalo people, the one and the others antonio arévalo le persone, le une e le altre

178 180 194 202

_verifica#04: (la presenza di loro in n\io / their presence in us) opera #07 sette/seven opera #08 passaggi-paesaggi/ passages- landscapes opera #10 in_visibilità/ in_visibility

.txt {ó=~OcGQ|Õ¶¶ %&’()*456789:CDEFGHIJSTUVWXYZcdefghijstuvwxyzƒ„…† &’()*56789:CDEFGHIJSTUVWXYZcdefghijstuvwxyz‚ƒ„…

C! aT_z>zc¯s’ césar meneghetti i\o_io è un altro (special project) i/o _io is a special project launched in 2010, an on-going creative process and, as a never-ending process of work in progress, the object of verifications (verification #1, #2, #3, #4…), through other works (such as opera #01, opera #02, opera #03, opera #04 for a total of 20). Hash # is a punctuation symbol, made up of crossing parallel segments, used mainly in information technology. In the United States it is called a number sign and is often used instead of n.: #1 means number one. in this work the symbol # is used in its most common meaning to number verifications and works but also, as on chess board, to indicate checkmate to prejudice or place a delete sign on exclusion. indeed, while the project we are referring to has in its title the indication of digital language code (i/o, one/zero), it is precisely thanks to the ambiguity and different meanings of the most widely-used digital sign #, that the new generations of digital native speakers (to which the artist belongs) may follow along the pathway of change and elimination of prejudice that the artist and others, with different languages, actions and gestures, have already taken: _verifica#01 (the artist’s viewpoint – i\o on them) > opera #01 video booth #3 v.1, v.2, v.3 e v.4 (video) > opera #02 kalos>agathos (video installation) > opera #03 ex-sistentia (video installation) > opera #04 e assai mi duole ancora (installation) > opera #05 biografie minime (photography) > opera #06 lovistori _pat&vinz (audio installation and photographs) _verifica#02: (the artist includes the comunità di sant’egidio art ateliers in the process in search of a sharing and of new visions – i\o e loro = n\oi). _verifica#03: the artist, the curators and other professionals (psychiatrists, philosophers, poets, journalists, art historians, the director of the museum of the mind and of the basaglia foundation) placed the process’s research work at the centre of the session at the 54th Biennale.

2011 international art exhibition. The event involve the Rome la sapienza university, the cà foscari university, the university of padua, university di udine, università della tuscia, comunità di sant’egidio and fondazione franco basaglia (loro su di n\oi). _verifica#04: (the artist works through a performance and search for movement with choreographer cristina elias and also with disabled individuals on language and movement) > opera #07 sette/seven (video-objects) > opera #08 passaggi-paesaggi (video installation) > opera #09 codici_binari (mixed media and web) > opera #10 in_visibility / in_visibilità (video installation) > opera #11 untitled (led panel installation) > opera #12 catene/chains (video installation) and beyond >> opera #13 reperti (mixed media installation) > opera #14 sorelle c (video) > opera #15 herseyo (video) > opera #16 io e un altro (photos) _verifica#05 (narrative video documentaries) > opera #17 doc #01 the true story of giovanni fenu (documentario) > opera #18 doc #02 lovistori – pat&vinz > opera #19 doc #03 in trattoria > opera #20 series of 3 art books: black, white and grey. + documentary “il percorso di i\o - 2010-2013” by ivan giordano }; http://www.alterastudio.it/ioeunaltro }; s/K[de:jnñ—#[«s^ ~SYÉ(ÆRø”-}ãÍÌÒ^–¿ÎÄ^P›s—’5¯+)l´Ñ_ºZw5m´yàUch|°8}¸\/Ë‘ò‚ [8ô5NN7M_ +GnUww %ï^y9m};ßK\U\ö zZÏ^¿Ÿo2Ôæã~K%yä÷~—Ü|i ,K| 8bzoe“_QoerNyjŸ[^ I\O

.tst stuvwxyzƒ„…† %&’()*456789:CDEFGHIJSTUVWXYZcdefghijstuvwxyzƒ„…† &’()*56789:CDEFGHIJSTUVWXYZcdefghijstuvwxyz‚ƒ„…

C! aT_z>zc¯s’ césar meneghetti i/o_io è un altro (special project) i\o _io è un altro è un progetto speciale iniziato nel 2010, un processo creativo ancora in corso e soggetto in quanto processo o work in progress infinito a verifiche (verifica #1, #2, #3, #4…), attraverso realizzazione di opere (ad esempio opera #01, opera #02, opera #03, opera #04 fino ad un totale di 20. in italiano il cancelletto # (in inglese, hash) è un simbolo di punteggiatura, costituito da segmenti paralleli incrociati, utilizzato prevalentemente nell’informatica. negli usa è anche detto number sign ed è spesso utilizzato al posto del carattere nº e indica una posizione numerica: #1 significa number one. in questo lavoro il simbolo # viene usato sì nella sua accezione principale, quella di numerare verifiche e le opere, ma anche, come in uso in una scacchiera, a denotare lo scacco matto al pregiudizio o a mettere un cancello sulla esclusione. infatti mentre il progetto a cui facciamo riferimento ha nel suo titolo le denotazione del codice del linguaggio digitale (i/o, uno/zero), è proprio grazie all’ambiguità polisemantica (di fatto, nel senso comune) del più diffuso segno digitale: # che le nuove generazioni dei nativi digitali (cui l’artista appartiene) potranno inseguire sulla strada del cambiamento e della cancellazione del pregiudizio l’artista e quanti altri, con diversi e articolati linguaggi, azioni, gesti, la hanno intrapresa: _verifica#01 (lo sguardo dell’artista – i\o su loro) > opera #01 videocabina #3 v.1, v.2, v.3 e v.4 (video) > opera #02 kalos>agathos (installazione video) > opera #03 ex-sistentia (installazione video) > opera #04 e assai mi duole ancora (installazione) > opera #05 biografie minime (fotografia) > opera #06 lovistori _pat&vinz (installazione audio e foto) _verifica#02: (l’artista include i laboratori d’arte comunità di sant’egidio nel processo in cerca di con-di-visione e nuove visioni – i\o e loro = n\oi). _verifica#03: (l’artista, i curatori e figure professionali (psichiatri, filosofi, poeti, giornalisti, storici dell’arte, direttore del museo della mente e della fondazione basaglia) mettono in centro il lavoro di ricerca del processo nella biennale session alla 54. esposizione internazionale d’arte 2011. L’evento ha coinvolto la sapienza università di roma, università cà foscari, università di padova, università di udine, università della tuscia, comunità di sant’egidio e fondazione franco basaglia (loro su di n\oi). _verifica#04: (l’artista si confronta attraverso della performance e ricerca di movimento insieme alla coreografa cristina elias anche con soggetti non parlanti) > opera #07 sette/seven (video-oggetti) > opera #08 passaggi-paesaggi (video installazione) > opera #09 codici_binari (mixed media e web) > opera #10 in_visibility / in_visibilità (installazione video) > opera #11 untitled (istallazione led panel) > opera #12 catene/chains (installazione video) e oltre: > opera #13 reperti (installazione mixed media) > opera #14 sorelle c (video) > opera #15 herseyo (video) > opera #16 io e un altro (foto) _verifica#05 (video documentari narrativi) > opera #17 doc #01 la vera storia di giovanni fenu (documentario) > opera #18 doc #02 lovistori – pat&vinz > opera #19 doc #03 in trattoria > opera #20 serie di 3 libri d’artista: black, white e grey. + documentario “il percorso di i\o - 2010-2013” di ivan giordano }; http://www.alterastudio.it/ioeunaltro s/K[de:jnñ—#[«s^ ~SYÉ(ÆRø”-}ãÍÌÒ^–¿ÎÄ^P›s—’5¯+)l´Ñ_ºZw5m´yàUch|°8}¸\/Ë‘ò‚ [8ô5NN7M_ +GnUww %ï^y9m};ßK\U\ö zZÏ^¿Ÿo2Ôæã~K%yä÷~—Ü|i ,K| 8bzœ“_QœrNyjŸ[^ I\O

IO È UN ALT UN AUTRE OTHER YO EU É UM O I ST E I N A VERIFI

TRO JE EST E I IS AN O ES OTRO OUTRO ICH A ND ERE R CA#01

SIMONETTA LUX CÉSAR MENEGHETTI’S DOUBLE EMPHASIS ART/REALITY The double emphasis art/reality specific to César Meneghetti’s work can/must be described also through other opposites: identity /nomadism, crystallisation / flow, otherness/ prejudice, remembrance/oblivion, normality/diversity, boundary/cross-boundary. Because it is precisely there, along these borders, that Meneghetti’s works and his art are fulfilled.

It is no coincidence that the split-screen that, amongst the countless linguistic techniques he so knowledgeably uses, might have constituted until now a creation trope in the framework of the double emphasis centred along the border between things and conditions, has been discarded in his most recent innovative work, as if the boundary separating conditions and cultural contradictions had been disregarded.

Is that the case?

Before this current work, I/O IO È UN ALTRO, the crystallisation of a lengthy and challenging project/ process taken through verifications, César Meneghetti had given the dignity of language to splinters, traces, fragments, narrations, sudden parallelisms between distant and opposing worlds: Italy/Brazil, Europe/America, Africa and European science. And using all the devices now available to art – photography, editing, installation, sculpture, film directing and/or screen writing –, he established an antithesis in distance, bringing to light specific issues, making them universal and narrating them, intercepting them thanks to the nomadic or migrant condition he shares with the artists and men of this globalised world. Among his movies, I’m referring, to Landless/Sem Terra (12’30’, 2001) made with Elisabetta Pandimiglio or the abstract Montages that he has been making since 2000 or, closer to us, K_lab- interacting on the reality interface (2009-2011).

Landless/Sem Terra narrates the fictitious / realistic tale of the life of a man who never #18

speaks marked by an exceptional event: his birth in the middle of the sea. Born on a ship crowded with migrants who believed they were going to make their fortune in “Merica”, with its vast arable land, this man finds himself growing up in Brazil where the ruling rural aristocracy had replaced slave manpower with more affordable European wage earners.

The scandal of the film is at its start, when the man stops speaking, a man doomed from the first day of his life to seek his land without ever finding it. The inexplicability of his inner flare and the narrative through other voices, the voices of the women who loved him in two different corners of the world, the filming method used in a mode of composition that goes against classical movie-making (it lacks continuity in the story and the script) create expectancy and suspense. This work, that is open from the narrative standpoint, and this cinematographic object with no strict planning – its plot taken from a real event from days long past – provides a window on living conditions in Brazil and conditions shared by many in the world today.

In K_lab- interacting on the reality interface, the identification and disjunction of two worlds, that on the surface are communicating but in fact are rigidly locked up inside their own borders, is once again unclear: the successful and productive world of Western science, the world of Africa, Niger, suddenly abandoned to a regression in development and the march of desertification. Meneghetti is called to describe the relationship between these two worlds, on the basis of the extended scientific documentation of the success achieved by the Italian governmental project to block desertification by planting 25 million trees and by building complex irrigation systems through techniques both culturally and effectively created by the local population. The artist’s work does not present any documents, large files or statistics relating to the success achieved by scientists and then discontinued by politicians.

With his trans-genre capacity and transmediality, Meneghetti has organised his work in an indivisible semantic unity: it achieves complex artistic unity expressed through different parts that are they themselves distinct works: the projections, sculptures, audio/video installations, video-booths, constituting them. Video-booths have been invented by Meneghetti and involved an original procedure: the protagonists, in this case Nigeriens, are called to speak to us about their ideas of God, Love, life, the future and money, returning to us and universalising life and the views of that distant place that science had helped and politics abandoned.

Both the works and the Montages involve building upon himself, i.e. upon his own personal history as an artist film-maker, the editing guided by editing itself (the abstract composition of his own movie fragments), a construction guided by his political and cultural subconscious. The prevailing element that has emerged is his technical mastery in giving some of his montages titles like jump, fade in, sequence shot: it is quite obvious that César Meneghetti is moulded by what he does, learning from his own works. As he himself has written “after all technique, Montage, only provides a cue to talk about something else, to investigate language and diversity in the cultures and worlds I myself #19

have experienced in South America, Great Britain and Italy, in search of a personal, transnational, horizontal identity” .

A critical relationship with techniques is evident in this artist ever since his student days.

Subconsciously but perceptively, César Meneghetti has, for example, used (in Montage 6 and in Montage 7) a split-screen, with the aim of establishing contemporaneity in time and place, the notion of a merging and indiscernibility of the streets of two cities as different as Sao Paolo in Brazil and Rome or Rome and London. As he himself has pointed out in the interview of 2006, a hyper-non-place, a reality conjured by a specific use of techniques and images are used.

The different ways in which media can be used by contemporary artists and formal excellence brought to the limits of abstract art do not disregard the subject, on the contrary, we witness a rediscovery of the centre, a constantly moving centre, a nomadic centre, in an interminable interweaving of individuals, places or environments and so the critical and ethical component becomes a new protocol for art. A new subjectivity lacking expression but having wisdom.

When I asked Cêsar Meneghetti to work on and with disabled people, the artist knew he was being called to a new representation of the truth through art; what he did not know was that he would break through the indefinite boundary between reality and representation, leading to a real upheaval in the reality of that condition and in his own reality through a shared creative process.

Thanks to the relations set in motion by Meneghetti through a process shared with the disabled participants – and the use of media in educating to freedom, thus to the current concept of art – he brought about this upheaval at the peak of a process of revelation and liberation from a condition of reclusion and discrimination initiated years ago through practical institutional initiatives by the Community of Sant’Egidio, with Acts on the creation of non-differential curricula in schools (Act n.517 of 1977 and Act 270 of 1982), through the creation of businesses and jobs and through the creation of the Art Ateliers: we described these activities in the book written jointly by several authors Con l’arte. Da disabile a persona (With art. From being disabled to being a person). If the intelligence and ability to communicate of people with different physical and neurological disabilities has already been proven, thanks also to the tools of augmentative communication (W.O.C.E. Written Output Communication Enhancement), what more can art and artists do, and how?

It wouldn’t be fair to say that Cèsar Meneghetti wasn’t a suitable artist.

In I/O_IO È a ALTRO, the central theme of boundaries and the double emphasis persists, but the representation or metaphor of the insoluble contrast between opposite cultural standpoints (present in previous works and persisting in a number of contemporary artists), becomes a real move from one condition to another, a change in condition: it is a major step, it is a revolution, given that I know my diversity, I use my disability and my I\O_ OPERA # 16 _IO È UN IALTRO, fotografia digitale su alluminio 200 m x 180 m in inglese intelligence, I create, make2011-2013 light of things, I communicate. #20

One day, prejudice will die out, if I have suffered I can remember why and I can counter the wall of scorn with my new awareness that it is unfounded.

Is it fair to say that change is in the language of art? Yes and no.

“Yes - as César Meneghetti has written - we are all part of a single body. I/O, one/zero, (OPERA=05 MINIMAL BIOGRAPHIES) as if the ones and the zeroes were merged and formed a language, as happens with the new media art that is conceptually investigative, technologically innovative and socially/ culturally critical. The media used and the parallelism of I/O (one/zero) bring to the forefront the critical relations between digital culture and general culture (…) In this work, as in the new media, it is important to stay inside a pure flow of images so as to be authentic (…) Our commitment is no longer just to portray but to find a way of de-codifying. By de-codifying we might even change”.

No: after the crisis in modern art, artists have gained unlimited opportunities in terms of using, in art, all media and all devices: what is new is only the altermodern taking place in the infinity of media that can be used and processes that can be chosen. Change is only in people, in an endless process of life and art creation.

A work and its verification pass each other the baton, in a never-ending progression between the artist and the other that in this work crystallises the present that is always past, marking the time with signs.

The twofold revolution or inner liberation, mentioned repeatedly by César Meneghetti for himself and the others in the relationship, is nothing but the boundary separating notions and conditions of diversity from conditions of forced conformity, a solution to the clash between the subject and a reality experienced and immediately lost.

The work of art-object, the crystallisation or temporary sign of vital, relationship and perceptive processes is inadequate in its essence in portraying, bearing witness to the process of which it is, however, an integrating instance.

But art is this multifaceted, boundless process.

1 César Meneghetti,_ this_ placement, Rome, 2011 with comments by Antonio Arevalo, Cristina Cannelli, Mike Watson, Simonetta Lux, Francesca Gallo, Bruno of Marino, Elisa Byington, Lucrezia Cippitelli, Solange Farkas, Elisabetta Pandimiglio.

2 Simonetta Lux, Arte ipercontemporanea. a certo loro sguardo…Ulteriori protocolli dell’arte contemporanea, Rome, 2006, p. 217.

3 Giorgia Calò, Montage. Un dialogo tra Giorgia Calò e César Meneghetti, “luxflux.net/n.19/2006/artintheory2”.

4 Cfr. Simonetta Lux, op. cit, p.219 5 In SLAZAK, Con l’arte. Da disabile a persona (With art. From being disabled to being a person), Rome, Gangemi, 2007, on page 335 there is a chapter on the laws in favour of school integration, with non-separate teaching (contrary to provisions existing in other European countries). By Simonetta Lux, Antonella Antezza, Cristina Cannelli, Alessandro Zuccari.

6 SLAZAK, Con l’arte. Da disabile a persona, op. cit. , a cura of Simonetta Lux, Antonella Antezza, Cristina Cannelli, Alessandro Zuccari.

7 César Meneghetti, www.ioeunaltro.org #21

I/O_OPERA #01 VIDEOCABINA #3 (Autoritratto), 2011, still from video

SENZA TITOLO (io è un altro), 2011, pennarello su carta

SIMONETTA LUX DOPPIO REGISTRO DI CÉSAR MENEGHETTI ARTE / REALTÀ Il doppio registro arte/realtà è peculiare della opera di César Meneghetti può/deve essere declinato in altri antagonismi: identità /nomadismo, cristallizzazione / flusso, alterità/pregiudizio, memoria/oblio, normalità/diversità, confine/sconfinamento. Perché è lì, sul quel confine, che l’opera di Meneghetti si svolge e la sua arte si compie.

Lo split-screen che, tra gli infiniti dispositivi linguistici da lui sapientemente usati, finora poteva costituire il tropo di una creazione nel doppio registro addensata sui confini tra le cose e le condizioni, non è un caso che nell’opera inedita più recente sia stato abbandonato, come se il confine che separa condizioni e contraddizioni culturali fosse stato fatto cadere.

E’ così?

Prima dell’attuale opera I/O IO È UN ALTRO, cristallizzazione di un lungo e difficile progetto/ processo passato attraverso verifiche, César Meneghetti ha attribuito la dignità di linguaggio a lacerti, tracce, frammenti, narrazioni, fulminei parallelismi di mondi lontani e contrapposti: Italia/Brasile, Europa/America, Africa e scienza europea e con tutti i dispositivi oramai disponibili dell’arte - fotografia, montaggio, installazione, scultura, regia e /o sceneggiatura - ha fissato una contrapposizione nella lontananza, ha fatto emergere questioni particolari, universalizzandole e narrandole, intercettandole grazie alla sua condizione nomadica od emigrante che egli condivide con artisti e uomini di questo mondo globalizzato. Mi riferisco tra i film a Senza Terra/Sem Terra (12’30’, 2001) realizzato con Elisabetta Pandimiglio, o ai Montages astratti che ha continuato a realizzare a partire dal 2000, o, per arrivare più vicini a noi, a K_lab- interacting on the reality interface (2009-2011).

In Senza Terra/Sem Terra c’è il racconto ficticious / realistico dell’esistenza di un uomo #24

che non parla, segnata da un evento straordinario: la sua nascita in mezzo al mare. Partorito in una nave carica di emigranti convinti di andare a far fortuna nella “Merica” con i suoi vasti spazi da coltivare, quest’uomo si ritrova a crescere in un Brasile governato da un’aristocrazia rurale che aveva sostituito la manodopera schiava con quella - più conveniente - dei salariati europei. Lo scandalo del film è il suo incipit narrativo: quando quell’uomo ha smesso di parlare, un uomo destinato fin dal primo giorno di vita a cercare la sua terra senza mai raggiungerla. L’inspiegabilità di quello scatto interiore e la narrativa attraverso altre voci, le voci delle donne che lo hanno amato in due diversi angoli del mondo, i dispositivi filmici messi in opera in una modalità compositiva anticinematografica classica (manca continuità di trama e sceneggiatura) creano attesa e sospensione.

Quest’opera narrativamente aperta e questo oggetto filmico non rigidamente pianificatocol suo soggetto tratto da un fatto reale di tempo lontano- si fa apertura sulle condizioni di vita nel Brasile e su condizioni condivise oggi nel mondo da molti.

In K_lab-interacting on the reality interface, è irrisolta, di nuovo, l’identificazione e separazione di due mondi, apparentemente comunicanti ma rigidamente chiusi nei loro confini: mondo della scienza occidentale vincitrice e fruttuosa, mondo dell’Africa, il Niger, improvvisamente abbandonato alla regressione dello sviluppo e all’avanzamento della desertificazione. Meneghetti ê chiamato a raccontare la relazione tra i due mondi, in base all’enorme documentazione scientifica del successo ottenuto dal progetto governativo italiano di bloccare la desertificazione, con la piantagione di 25 milioni di alberi e con complesse opere di irrigazione attraverso tecniche culturalmente e operativamente realizzate dalla popolazione locale. Nell’opera dell’artista niente documenti, faldoni, statistiche del successo pur ottenuto dagli scienziati ed interrotto dai politici.

Con la sua capacità trans-generi (trans-gender) e trans-mediale (trans-mediality), Meneghetti struttura l’opera in un’unità semantica inscindibile: vi è un’unità artistica complessa che si articola in parti che sono esse stesse opere individuali: proiezioni, sculture, installazioni audio/video, video-cabine, che la compongono. Queste ultime una invenzione di Meneghetti e la procedura originale: i soggetti, in questo caso i nigerini, sono chiamati a parlarci, della loro visione di Dio, dell’Amore, della vita, del futuro, del denaro restituendoci ed universalizzando la vita e le concezioni di quel luogo lontano, che la scienza ha aiutato e la politica ha abbandonato1.

Sia le opere che i Montage sono il compiere su di sé, cioè sulla propria storia personale di filmaker artista, un montaggio guidato dal montaggio stesso (la composizione astratta di frammenti filmici suoi), la costruzione guidata dal suo inconscio politico e culturale.

Emerge come fatto dominate la padronanza tecnica, quando egli dava ad alcuni dei suoi montage titoli come jump, fade in, piano sequenza: ma è evidente che César Meneghetti si fa fare dal suo stesso farsi, apprendendo dalle sue stesse opere. Come egli stesso scrive “in fondo la tecnica, il Montage, è solo uno spunto per parlare d’altro, indagare sul linguaggio e la diversità nelle culture e nei mondi che ho vissuto personalmente in sud America, Gran Bretagna, Italia, così ricercando una propria identità personale, transnazionale, orizzontale” 2. #25

É evidente nell’artista sin dagli anni della sua formazione il rapporto critico con le tecniche. In modo inconscio ma consapevole, César Meneghetti ha usato ad esempio ( in Montage 6 e in Montage 7) lo split-screen, volendo attribuire una contemporaneità di tempo e di luogo, l’idea della fusione ed indistinguibilità delle strade di due città così diverse come San Paolo del Brasile e Roma o come Londra e Roma. Come egli stesso scrive nell’intervista del 20063. Un iper-non-luogo, una realtà evocata dal modo d’uso della tecnica e dell’immagine.

Il modo d’uso dei media tutti disponibili all’artista contemporaneo e l’eccellenza formale tesa ai limiti dell’astrattismo, non escludono il soggetto, anzi assistiamo a un ritrovamento del centro, un centro che si sposta continuamente, un centro nomadico, in un intreccio infinito di individui, luoghi o contesti, dunque la componente etico critica diventa il nuovo protocollo dell’arte. Una nuova soggettività senza espressione ma con sapienza4.

Quando ho invitato Cêsar Meneghetti a lavorare su e con persone disabili, l’artista si sapeva chiamato a una nuova scena della verità attraverso l’arte, ma non sapeva che avrebbe infranto il confine ambiguo tra realtà e rappresentazione, portando con un processo creativo condiviso un rivoluzionamento vero e proprio in quella realtà di condizione e nella propria stessa realtà.

Il rivoluzionamento grazie al processo relazionale messo in moto da Meneghetti con un processo condiviso con persone disabili - e con l’educazione alla libertà nel modo d’uso dei media, quindi al concetto attuale di arte- è azione che egli compie al culmine di un processo di svelamento e di liberazione da una condizione reclusiva e discriminata da anni avviato attraverso atti istituzionali concreti dalla Comunità di Sant’Egidio con le leggi sulla creazione di percorsi non differenziali nella scuola (legge n.517 del 1977 e legge 270 del 1982)5, con la creazione di impresa e di lavoro e con la creazione dei Laboratori d’arte: ne abbiamo parlato nel libro a più mani Con l’arte Da disabile a persona6. Se era già dimostrata la intelligenza e la capacità comunicativa delle persone con diverse disabilità fisiche e neurologiche anche attraverso gli strumenti della comunicazione aumentativa (W.O.C.E. Written Output Communication Enhancement), che cosa poteva fare di più l’arte e l’artista, e come?

Non si può dire che Cèsar Meneghetti non fosse un artista adatto.

In I/O_IO È UN ALTRO il tema centrale del confine, del doppio registro persiste, ma la rappresentazione o metafora della insolubile contrapposizione di visioni culturali opposte (presente in opere precedenti e persistente in tanti artisti contemporanei), diventa passaggio vero e proprio da una condizione ad un’altra, cambiamento della condizione: è un grande passo, è una rivoluzione, poiché ora io so la mia diversità, uso la mia disabilità e la mia intelligenza, creo, ironizzo, comunico.

Morirà il pregiudizio, un giorno, se ho sofferto posso ricordare perché e al muro del disprezzo posso opporre la consapevolezza raggiunta dell’infondatezza di esso.

Si può dire che il cambiamento sia nel linguaggio dell’arte? Si e no.

“Si, come scrive César Meneghetti, siamo tutti parte di un corpo unico. I/O, uno/zero, #26

(OPERA=05 BIOGRAFIE MINIME) come se gli uno e gli zero si riunissero e formassero un linguaggio, come accade con la new media art concettualmente indagatrice, tecnologicamente innovativa e socialmente/ culturalmente critica. I mezzi utilizzati, il parallelismo di I/O (uno/zero) mettono in primo piano le relazioni critiche tra cultura digitale e cultura in generale (…) In questo lavoro come nei nuovi media bisogna rimanere in puro flusso d’immagine in modo di essere veri (…) Il nostro impegno non è più solo quello di rappresentare, ma trovare un modo di de-codificare. De-codificando possiamo anche cambiare”7.

E no: dopo la crisi del moderno l’artista ha conquistato la possibilità infinita d’uso, nell’arte, di tutti i media e di tutti i dispositivi: il nuovo è solo quell’altro moderno(alter modern) in atto nell’infinità dei mezzi che si possono usare e dei processi che si possono scegliere. lI cambiamento è solo nelle persone, in un processo infinito della vita e della creazione stessa dell’arte.

L’opera e la verifica si passano il testimone, in un processo infinito dell’artista con l’altro che nell’opera cristallizzano il presente sempre passato, iscrivendo il tempo con segni.

La doppia rivoluzione o liberazione interiore di cui a più riprese parla César Meneghetti per sé e per gli altri relazionati, non è che la cancellazione del confine che separa visioni e condizioni di diversità da condizioni di conformità coatta, soluzione dello scontro tra soggetto e realtà vissuta e subito persa.

L’opera d’arte-oggetto, la cristallizzazione o segno temporaneo di processi vitali, relazionali, percettivi, è inadeguata nella sua essenza a rappresentare a testimoniare il processo di cui pur tuttavia è momento integrante.

Ma l’arte è tale articolato, sconfinato, processo

1 César Meneghetti,_ this_ placement, Roma, 2011 con scritti di Antonio Arevalo, Cristina Cannelli, Mike Watson, Simonetta Lux, Francesca Gallo, Bruno Di Marino, Elisa Byington, Lucrezia Cippitelli, Solange Farkas, Elisabetta Pandimiglio.

2 Simonetta Lux, Arte ipercontemporanea. Un certo loro sguardo…Ulteriori protocolli dell’arte contemporanea, Roma, 2006, p. 217.

3 Giorgia Calò, Montage. Un dialogo tra Giorgia Calò e César Meneghetti, “luxflux.net/n.19/2006/artintheory2”.

4 Cfr. Simonetta Lux, op. cit, p.219 5 In SLAZAACC, Con l’arte. Da disabile a persona, Roma, Gangemi, 2007, a pag 335 vi è un capitolo dedicato alle leggi per l’integrazione scolastica, con insegnamento non separato (contrariamente alle norme vigenti in altri paesi europei). A cura di Simonetta Lux, Antonella Antezza, Cristina Cannelli, Alessandro Zuccari.

6 SLAZAACC, Con l’arte. Da disabile a persona, op. cit., a cura di Simonetta Lux, Antonella Antezza, Cristina Cannelli, Alessandro Zuccari.

7 César Meneghetti, www.ioeunaltro.org #27

OPERA #16 IO È UN ALTRO

WORK #16 I IS AN OTHER

I\O_ OPERA # 16 _IO Ăˆ UN ALTRO, 2011-2013 fotografia digitale su alluminio 200 m x 180 m

OPERA #01 VIDEOCABINA #03

I/O_OPERA #01 VIDEOCABINA #3, 2013, video HD, color, suono stereo, 38’ ”, videoinstallazione monocanale retro/proiettata in loop. operatore: beatriz franco, ivan giordano, césar meneghetti montaggio: alberto rigno, césar meneghetti ha collaborato: yael leibel, eleonora carbone produzione-allestimento: luigi d’oro allestimento tecnico: riccardo d’uva

WORK #01 VIDEOBOOTH #03

I/O_WORK #01 VIDEOCABINA #3, 2013, stereo HD video, color, 38’ ”, mono channel video installation cameraman: beatriz franco, ivan giordano, césar meneghetti editing: alberto rigno, césar meneghetti in collaboration with: yael leibel, eleonora carbone production-staging: luigi d’oro tecnical staging: riccardo d’uva

People and places, small fragments of sounds and images make up a video that develops along different planes/channels. This video-booth, a non-place, reconstructs a sense of culture and of belonging to mankind. The VIDEOCABINA #03 audio-visual project, as the two previous ones (Sabina 2006, Niger 2007), is both a part of and complementary to the photography one and its aim is to contribute to sketching a visual, audio and human atlas. Talking portraits of people inhabiting different parts of our planet, interviews given by entirely ordinary men and women describe the way they learn about the world, their views on fundamental aspects of existence, on the broader meaning of life. A spatial simulacrum of the human condition, within which different groups are connected and at the same time isolated in different places and conditions of limitation, generating in viewers a sense of deep intimacy and empathy. The ones who do not have the ability to talk, communicate by means of writing or through the Written Outputs Communication Enhancement (W.O.C.E.).

#34

Persone e luoghi, suoni ed immagini che, a piccoli frammenti, compongono un film articolato su diversi piani canali. In questo non-luogo, si ricrea un senso di cultura e di appartenenza all’umanità. Il progetto audiovisivo della VIDEOCABINA #03, come quello delle due precedenti (Sabina 2006, Niger 2007), è parte insieme e complementare a quello fotografico, vuole poter contribuire a tracciare un atlante visivo, sonoro e umano. Ritratti parlati degli abitanti di diverse regioni del pianeta, interviste posate di uomini, donne del tutto ordinarie raccontano il loro modo di apprendere il mondo, alcuni temi dell’esistenza, il senso della vita più ampio. Un simulacro spaziale della condizione umana, in cui si collegano e si isolano allo stesso tempo i vari gruppi nei vari luoghi e condizioni di limite, ricreando nello spettatore un’atmosfera di densa intimità ed empatia. Coloro che non hanno l’uso della parola, comunicano attraverso la scrittura a mano o realizzata al computer grazie al metodo della comunicazione aumentativa (W.O.C.E.).

#35

I/O_WORK #01 VIDEOCABINA #3, 2013, video installation expographic projects

I/O_WORK #01 VIDEOCABINA #3, 2013, video installation expographic project

I/O_WORK #01 VIDEOCABINA #3, 2013, still from video HD, color, suono stero, 38’ ”

I/O_WORK #01 VIDEOCABINA #3, 2013, video installation expographic project

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27:11 thansincere love and and what you you want understand to achieve do, is something can for society... ebeat was me from Venice. 00:04:21:06 00:22 00:17:02:11 00:17:04:06 at first sight, 00:07:21:05 00:07:24:08 00:10:37:13 00:10:40:09 all obvious.

00:11:33:08 00:11:35:03 00:09:19:19 00:09:21:23 2 psychiatrist.

00:33:56:13 I can 00:15:46:06 00:15:48 can manage to But that person, We You have to accept so many 00:11:48:08 me.

I’ve never...

00:13:05:00 00:13:06:13 00:14:26:01 00:14:27:14 and makes00:11:49:13 you tell the 00:33:24:02 00:33:23:02 00:23:42:21 00: I’m just Mirko, that’s ’ve got just enough, but unfortunately it 00:05:50:24 00:05:54:12 things. you’re in that if wheel00:03:13:07 truth. you’re when someone’s about in a whe thanks to thinking money, It’sthing, something all.

0:01:24:1200:03:14:2200:04:22:16 00:22 personal 00:17:05:11 00:17:08:07 because the latter, 00:07:27:11 00:07:24:20 chair...

28:17 doing chair, tant, 8 00:34:03:02 0:01:26:08 so I understand people and... let’s say...

I also give her freedom.

00:10:40:18 00:10:43:23 00:33:24:06 00:33:26:18 30:06 I’ve tried 00:04:23:22 it, oh 00:11:35:07 00:11:37:04 ord to the have a child.

00:09:22:02 00:09:23:18 e had place forwa 00:15:49:09 00:15:51 Positive ones but you do the need money to live.

00:11:49:17 00:11:51:07 n’t nice. yes. daredand to negative do.

Even if often 00:13:06:17 telling 00:13:09:02 00:14:27:18 00:14:29:06 00:23:46:02 00: My name’s Mirko Ghezzi losed down.ones. that I can’t share w 00:17:10:16 00:17:12:01 00:05:55:00 00:05:57:06 00:07:28:02 00:07:30:22 that’s why whenone I say... thing and they woulddon’t like understand t truth 8 00:34:05:00 society is 00:22 a gr the world. others too.

00:33:27:01 00:33:29:19 is for February 14. had the I’ve never joy of difficulties.

31:02 to do another, an that. 00:03:16:1200:04:24:15 people 00:09:24:05 00:09:25:05 0:01:26:13 The o Just enough to get by, the 00:10:44:02 00:10:45:04 being...

00:11:51:11 00:11:53:01 32:02 00:03:18:12 00:04:27:19 00:11:37:08 00:11:38:17 0:01:27:22I Like right amount 00:13:10:22 !00:14:29:13 chang 00:15:52:07 00:15:57 00:05:57:18 situations truth hey ?

00:14:30:18 le. must particular say,I I’ve think that it’s 00:06:01:11 a and reality 00:17:12:14 00:17:14:19 00:13:09:15 is hurts, a bit difficult.

0 would 00:34:06:14 00:23:50:05 00: always To understand that m I get on well with the coming to-00:07:33:24 00:07:32:17 Because they’re stupid. triedsay it. bit...Two hearts it doesn’t make sense. who accepts cer 00:09:25:09 00:09:27:13 00:33:29:23 00:33:32:00 00:22 dition... world. gether...so much in love 00:10:45:08 00:10:47:11 00:11:53:10 00:11:54:23 32:17 00:11:39:21 00:11:41:01 ple,poor, is if Neither too rich, nor too is supposed to be Mirko 0:01:28:01 that unfortunately happen Sometimes it’s painful 0 00:34:08:17 00:14:30:22 00:14:33:03 33:17 00:03:20:0300:04:28:08 Because you’re 00:13:11:21 always 00:13:12:21 Ghezzi,00:07:36:11 reality.

0:01:30:04 00:15:57:20 00:15:58 00:17:15:16 00:17:17:06 00:06:02:09 00:06:05:20 00:07:34:06 tohappius in life. n’t give you They’re people who’re le.

00:03:22:02 00:04:30:15 afraid In this world, 00:23:53:21 00: 00:33:32:04 00:33:33:16 hat aged 40 I want00:22 They say: mean, well...00:11:55:02 00:11:56:15 they wereand separate and I’m Iscared sometimes afraid When it happens Cupid’s to doing, somewhere in between. that’s it. meet 00:09:29:18 00:09:31:13 d to leave. now they of unite losing him.

00:10:47:17 00:10:49:24 and 00:11:41:05 sometimes it’s less 34:01 you...

00:13:13:00 00:11:42:10 00:13:14:13 For me reality takes place 00:15:58:24 00:16:00 00:17:17:16 00:17:19:02 3 00:34:11:08 We each have our own way painful.

00:14:36:08 35:01 00:04:30:19 of making a if mistake. you want 00:33:35:17 to00:14:33:24 speak the 00:33:34:07 00: 0:01:30:08 “Damn00:24:00:22 it, you’re00:22 alw you happiness...

I’m always discriminated 00:06:06:10 00:06:08:14 00:07:36:19 00:07:39:02 of having to d e thing, 00:03:22:1400:04:33:11 truth But not too rich, Myanything main wish 00:09:31:17 00:09:33:19 0:01:31:1300:03:24:08 . in is my the way. against, and arrows. two hearts become but I It’s selfish, am 00:10:50:03 00:10:51:13 00:11:57:17 00:11:59:10 with his 00:11:42:14 00:11:44:10 with us. to walk. in another dimension, be- Telling wanted towe’ll leave one. scared. of overcoming thesays truth...

35:05 talk aboutthem. it.

So she 00:13:14:17 no...

00:13:15:17 00:33:35:21 00:33:38:23 cause 5 00:34:13:20 00:22 00:16:00:22 00:16:02 00:17:19:06 00:17:20:20 otherwise you become mean with 36:20 00:04:33:16 you have to speak 00:14:37:10 00:14:40:15 00:24:04:11 00: st say... 00:10:51:24 0:01:31:17 meet “You hurt me I ascan’t well because I’m looked upon 00:06:09:13 00:06:10:15 00:07:40:06 00:07:43:14 00:10:53:20 people, 00:11:59:18 00:12:02:13 idn’t take00:03:25:1800:04:34:19 They think 00:11:45:15 00:11:46:20 Forthat someone to 00:09:36:22 0:01:33:08 ?” things, badly.

I’d like...

So... 00:09:35:02 I don’t just...

Life is growth... you let a free heart out. f me, 00:03:27:19 Not my doing.

00:13:15:21 00:13:17:13 It can’t be done judge 4 00:34:16:17 me.

I follow these things of ecause I had this 00:22 00:33:39:17 00:33:42:02 When it happens, it all the truths in the ealth be bad mine...00:07:47:16 ream. wouldn’t Not a 00:16:02:19 00:16:05 00:17:21:11 00:17:23:00 you become greedy with money, 00:06:15:07 00:06:17:22 00:07:45:11 00:10:54:02 00:10:57:02 00:12:05:00 00:12:08:24 36:24 happens.

00:04:35:02 00:11:46:24 world, 00:11:48:04 00:14:41:03 00:14:43:08 00:24:07:13 00: But I’ve always got But I’m different. but better forget it. to myself I try to talk that’s it, a growth HARMONY WITHyou’re REALITY. 38:14 00:04:37:19 because likeIT’S that I can’t interpret I’d like...

00:09:37:01 00:09:39:07 0:01:34:07 00:33:42:14 00:33:44:06 00:22 swer ready.

A CONCEPT.§ idn’t wash00:03:28:02I’ve got a girlthat...

00:13:17:17 00:13:19:04 1 00:34:18:24 this flair for art that I00:17:25:11 0:01:36:0400:03:29:08 you you think only00:14:43:12 about them, your- 00:14:44:21 I’d l 00:17:24:11 00:06:18:03 00:06:19:16 00:07:47:20 00:07:49:09 00:10:58:08 00:11:00:11 friend. but can’t utter all the troubles I’ve 00:24:09:13 00: have.happens self... ’d never want to be again 00:16:07:10 00:16:09 Yes. Sometimeswhen it makes you that and ask: of the mind too.

00:12:11:02 00:12:14:04 It’s beautiful, 00:11:48:08 00:11:49:13 a serious discourse.

I’d likeam love, here.

I say: “What I su suffer, It shouldn’t be hidden.

38:21 00:04:38:17 you’re in that 00:13:19:08 wheel- 00:33:45:17 00:13:20:23 00:33:44:10 00:09:39:21 00:09:42:15 00:22 togoes do ?” 00:14:47:11 00:17:25:15 00:17:27:20 00:11:01:01 00:11:03:05 00:07:49:13 00:07:51:02 3 00:34:21:07 40:20 00:03:29:19 00:04:40:24 because chair...

00:14:45:11 I don’t the like world that.

00:24:11:24that’ 00: It’s something you see 0:02:29:09 Because I’m better than 00:06:19:20 are you doing ?”

As long as you’ve got a “What it rich,were yes...

00:12:14:23 00:12:17:16 e they 00:03:31:22 She lives near me.00:06:20:20 round They think viole I’dyou’re like someon this moment.them.

0:02:31:13love is giving all 00:16:09:20 00:16:12 sometimes it doesn’t.

Once00:11:49:17 you find a hint to 00:11:51:07 00:33:45:22 00:33:49:03 love... t’s a bit difficult 00:22 This is what I’ve go 1 00:34:23:06 00:07:51:06 00:07:54:14 convey it why when sorts of things.

00:04:41:03 00:13:21:02 00:13:24:19 that’s I say...

00:14:47:21 If you’ve got just enough, 00:14:49:18 00:09:42:23 00:09:44:22 I’m h can’t get true. up o much, mind !

00:17:31:01 00:06:20:24 The 00:06:23:10 love everyone 00:17:28:20 knows...

40:24 00:04:42:23 with lies and but truths. it’s 00:24:13:19 not 00: There, yes...

0:02:32:06 It could be accepting the 00:12:20:15 I think that if you 00:12:19:01 43:00 00:03:32:01I’d like someone...

00:11:51:11 00:11:53:01 00:33:49:11 00:33:52:00all these thing 0:02:33:20 0 00:34:24:19 00:22 00:16:14 others think it 00:07:58:07 over, 00:08:01:02 you’ve overcome that ching kids00:03:34:04 truth hurts,00:13:25:15 heydon’t ?ob- need 00:13:28:19 00:14:51:05 you to00:16:12:18 be a mil-00:14:53:10 an that.about this. o talk start walking in a boy,00:09:45:06 a girl... 00:09:47:12 stacle lionaire roblems.

That’s what00:04:43:10 love It’s like a bicycle, The and problem you is thatLike peo 00:24:16:04 living for the day.

I 00: am. street.

00:17:31:05 00:17:32:11 00:06:23:14 00:06:25:04 is...

00:04:45:24 until...

00:11:53:10 pedal 00:11:54:23 A TRUE VOICE IS 7 00:34:31:12 0:02:34:04 for what they are. thissomeone pain00:08:02:11 goes away. 00:08:04:11 00:33:52:22 00:33:56:13 00:12:20:19 00:12:22:04 45:07 I’d like to Sometimes it’s painful 00:14:55:00 00:14:57:17 at perhaps LOVE TO00:16:17 HAVE.§ 00:09:48:04 0:02:36:16 can that 00:09:49:09 last ? but if you’ve got00:16:14:18 just enough, that seemed impossible.

47:02 00:03:34:19stand by me. how long 00:13:30:15 00:13:32:10 think I can’t judge00:22 oth It’s something you see 00:17:35:24 here’s no 00:03:37:09 words They really madeI’m me h 00:17:32:18 00:06:25:16 00:06:26:24 leave me in a to understanders, the sense 00:11:55:02 you 00:11:56:15 1 00:34:36:08 00:24:20:23 00: escribe what love nobody, 00:33:59:18 00:34:03:02 There’s always someone I’ve been love sick 00:08:05:22 00:08:06:22 00:12:22:16 00:12:25:08 , a sun shining 00:04:46:13 and sometimes of it’s life. less happiness I’d like a 00:22 boyf 00:09:49:13 00:09:51:00 s. you can afford to have a child. worse...

That’s...

Now painful.

I’ll say what I think, 00:14:58:06 00:14:59:08 bright.

00:04:49:10 minute after minute. becau 00:16:19:10 00:16:20 I mean, wait...

47:06 But at00:06:27:03 my age... 00:06:29:17 00:13:37:04 00:13:39:17 0 00:34:38:03 00:24:26:00 00: 00:34:03:18 00:34:05:00 0:02:37:12 a zilch.

00:17:39:16 00:17:40:21 because I00:08:07:20 wanted him 00:08:10:19 at 00:12:25:23 00:12:29:16 ways.

48:19 00:03:39:02love...

00:11:57:17 I00:11:59:10 discrimiWait... get00:22 mar Nodon’t more feel than that.

00:09:51:21 00:09:53:19 0:02:42:04 than them. all costs, It’s a second, what I see with my own 00:14:59:12 just stayed 00:03:40:17 Telling the nated. truth... have00:15:02:02 a 00:16:24 kid.is so Reality is explaining, OVE EVERYTHING§ 00:16:20:17 2 00:34:40:07 eyes. people think I can’t It’s something 00:04:50:22 won00:34:05:10 00:34:06:14 It makes me angry.

O 00:17:41:16 00:17:45:21 00:06:29:21 00:06:31:10 00:08:11:10 00:08:14:01 autiful...derful. judge. 00:24:30:03 00: 00:04:52:14 00:13:41:01 00:11:59:18 00:13:40:01 00:12:02:13 Rich ?

00:09:54:01 0:02:43:23 I’m in a corner,00:22 I00:09:57:07 also see diversity I was crazy him. the respect 00:12:30:07 49:00 If someone’s inbut about you let a00:12:32:08 free No. heart out.

But I can’t find explaining how life is.

0:02:45:24 Becau 8 00:34:43:18 These things... 00:34:06:20 00:34:08:17 00:15:02:06 00:15:04:05 52:04 00:03:41:01love... y friends make me is beautiful, 00:16:25:03 00:16:26 00:17:46:07 00:17:49:14 00:06:31:15 00:06:33:19 00:08:14:16 00:08:19:22 er there, 00:03:42:10 they 00:12:05:00 00:13:43:05 00:12:08:24 00:13:44:12 Igive don’t a damn abo Money doesn’t yougive happi00:24:31:24 00: 00:09:57:17 00:10:00:02 ee...

00:22 I often cry, in theto way you 00:12:35:24 do HARMONY things. WITH I’d rather close theand she I give her has 00:12:38:18 e wear... It’s happiness.

00:04:53:10 Yes, REALITY. sadly.IT’S them. ness.

Getting married It’s not so nice to have 0 00:34:45:05 this topic. give to me... can Aeven cause...

00:04:54:21 CONCEPT.§ family and a jo beautiful, 0:02:46:07 00:16:27:17 00:16:29 00:34:09:13 00:34:11:08 52:12 00:03:42:21and they’re in love to explain 00:17:49:18 00:17:50:18 00:13:44:20 00:13:47:24 00:15:04:09 00:15:05:14 0:02:50:0500:03:46:04 Imedon’t want to 00:22 see I mean, 00:06:34:13 00:06:36:05 00:08:21:12 00:08:22:19 This gives youIat happiness...

00:12:41:02 00:12:44:13 54:00 People looked really 00:12:11:02 00:12:14:04 think that I, 00:24:36:19 00: 9 00:34:46:14 00:10:02:09 hen they hug and p body. love,I’m saying. that’s00:10:00:09 what your heart. fights... what’snegatively. the ight thing...

Likemea and bud 00:04:57:19 open-To have another It shouldn’t be hidden. s beautiful.

I’d like to be that things 00:17:50:22 happen in the reet me...ing up.

00:17:53:08 word... ?

00:04:58:23 00:15:05:18 00:15:08:09 world 00:16:29:24 00:16:31 as if life for you had no 00:34:12:15 00:34:13:20 00:06:36:20 00:06:38:08 00:08:23:07 00:08:24:12 and lots 00:24:38:06 of people 00:22 like 54:11 they don’t see 00:12:14:23 00:13:48:07 00:12:17:16 00:13:52:06 9 00:34:48:19 00: 0:02:51:02 Well, I must say... don Ithey always try to Iforg obstacles, I think it’s for It’s good affection...

00:12:44:23 56:06 00:03:46:08 Once you 00:12:45:23 findThey a hint say to things, myself ? to walk like ev 00:10:03:23 00:10:05:09 0:02:52:02 you, Quarrels misole... 00:03:47:1400:05:03:23 convey? it swear... else, and it’s someone’s fault, t’s a joy.

00:34:13:24 00:34:16:17 00:22 00:16:31:16 00:16:33 00:17:54:05 00:17:56:08 00:08:24:22 00:08:28:14 You plant a 00:05:06:20 seed 00:15:08:14 00:15:10:22 6 00:34:55:18 a bit of wealth wouldn’t be about bad “I’d forget it.m as if it were one straight 00:12:47:23 00:06:38:12 call00:06:40:00 it what you want, 00:12:46:02 it’s her. are to a richness for so 57:06 all things black, 00:12:19:01 00:13:52:20 00:12:20:15 00:13:53:24 00:24:39:23 00: all, 00:10:05:13 00:10:07:15 0:02:52:0700:03:47:21like back that” path. because otherwise I’d Truth comesovercome outIat sooner 59:01 here... you’ve walk... thatorob- people. but it’s imposs things that could be 0:02:53:07 00:16:33:08 00:16:34 be nothing.

00:08:29:20 00:08:31:09 4 00:34:58:02 later. raightjacket.

00:03:50:02 stacle 00:34:16:21 00:34:18:24 avoided. eautiful, beauti00:22 But...

00:17:56:12 00:17:57:20 but underneath it’s love. and... and the flower 00:05:07:03 grows, 00:13:54:03 00:13:56:14 00:15:11:03 00:15:12:03 what with all the troubles I’ve No, 00:24:41:07 00:I ul.

Normal...

00:06:40:04 00:06:41:17 00:12:48:10 00:12:50:10 59:12 and grows...

00:05:09:04 00:12:20:19 People 00:12:22:04 got... see me,I’d...

I’ve got one 00:10:08:02 00:10:09:17 00:16:35:02 00:16:36 am.le 2 00:35:02:22 I used be nothing.

00:08:39:22 00:08:43:18 Truth is seemed healthy, 02:03 no, they see to everythat impossible. short Right now AI’m playing, 00:18:00:12 0:02:53:12 od withwith everyone.

I’ve got art on my s 00:17:58:18 TOGETHER WE’RE GREAT d sit 00:03:50:22 my thing 00:13:56:20 00:13:57:20 00:15:12:24 00:15:15:15 00:34:19:23 00:34:21:07 0:02:54:17

Pietà.

because like to be what I am Life is beautiful,00:36:22:21 life is for me.

00:36:25:08 6 :23:06:03 00:34:28:17 00:34:31:12 What is it I’d like 00:26:05:08 to useful.

00:26:06:08 you can change relation .s world nei- I think that 00:19:56:02 00:19:58:18 00:30:56:18 00:30:58:01 perhaps 00:18:10:19 00:18:14:18 have ?00:29:30:06 00:29:32:12 where you’re from. It helps you think, I explained to my niece IT IS PART OF 1:00 1:33:05 BECAUSE 00:21:35:08 00:27:39:17 00:27:45:06 00:36:26:01 00:36:27:09 No, but I know what pain 3 how I HUam. 00:34:36:08 MAN PERCEPTION.§ 00:24:47:22 days, want uldn’t to00:34:32:01 be between When we’re born00:31:00:04 it’s so people, means. 00:24:49:03 00:26:06:12 00:26:09:02 00:30:58:11 we can see happiness :23:07:23 But I’d like to have it one else. beautiful, If I could go round the 00:19:59:18 00:20:03:06 think over so many things. 00:36:30:24 e is per00:18:19:16 00:18:21:11 00:36:27:13 2:04 world ?

00:29:32:20 00:29:34:18 6 In00:34:38:03 all honesty, I feel 00:34:36:20 normal person does 00:24:49:07 00:24:50:24 so I think it’s somethi 1:35:12 A00:21:37:08 00:27:45:17 00:27:47:05 The fear is always there. they in lots of great ways. as I am.

00:31:00:08 00:31:03:13 after making some sacrivery important.

I’d change is the town because life 00:26:09:08 00:26:12:09 I don’t want it, I hate lone:23:11:20 00:18:22:13 00:18:24:02 fices...

4:16 00:29:34:24 00:29:37:01 I’d write like real liness. jour00:34:38:12 00:34:40:0700:20:06:16 00:20:04:21 stakes, 00:36:31:23 00:36:32:23 something 1:38:09 00:21:41:12 00:27:48:17 00:27:49:18 Life is beautiful... nalists, 0 Because I’m already nor-Not fear, but...

For me 00:24:51:03 00:24:52:08 s born in... is 00:31:04:21 an instant. 00:31:07:00 ho mal. :23:13:21 00:18:25:01 00:18:26:13 a computer.

6:15 00:34:40:18 00:34:43:18 00:29:38:10 00:29:41:24 00:26:12:23 00:26:13:23 Often it’s worse...

00:36:33:02 00:36:35:13 ys, but normal... we 1:42:09 00:21:44:03 the basically. world is beautiful, 00:27:50:02 00:27:51:17 I’dtowrite. find my 00:20:07:17 00:20:10:10 I’d really like it’s talking to people It’s the wheelchair, parents00:24:53:22 again.

2ew up too fast, Because a disabled 00:24:52:16 person how I feel, 00:31:07:24 00:31:10:07 00:18:26:19 00:18:29:12 To have the opportunity 00:34:44:00 00:34:45:05 9:20 00:26:15:09 00:26:18:21 r:23:18:10 is normal. the worst pain is silence.

00:33:23:02 00:33:24:02 I’mthe a handicapped sun is beautiful, 1:45:00 Me, 00:21:47:06 00:27:53:23 00:27:55:20 00:29:42:11 00:29:45:13 Like what’s happening in 00:36:35:17 thanks to money, 00:36:37:21 sidered girl, 00:24:54:01 00:24:55:24 ’s my worst fault, the00:31:12:23 one I’m in.00:31:16:22 I used to be afraid these periods... of it, because I want...

00:20:10:16 00:20:14:08 00:34:45:09 00:34:46:14 to have ownnow... personal 2:05 . butmynot 5 niece loves me anyway, 00:33:26:18 UNEXPECTED 00:33:24:06 ANXIETY TO SPEAK§ :23:22:06 the moon isMybeautiful.

00:18:29:19 00:18:31:15 exhibition...

00:27:57:19 00:27:59:17 00:36:38:05 00:36:39:05 00:26:19:03 00:26:20:23 .e’s shoes. because... but you do need money to liv I understand things 1:47:19 but 00:21:49:08 It’s sort of like legs.

Imywant people 00:29:45:22 00:29:47:10 But in company, not alone.

00:31:19:22 00:31:22:23 00:34:48:19 00:24:56:05 00:24:57:05 orst quality, 00:34:47:1900:20:15:16 7:03 when it comes, it comes.

00:33:27:01 00:33:29:19 4 00:20:17:19 Look, solitude is terrible...

Happiness ? :23:25:15 00:18:33:15 th me, 00:18:31:19 00:36:41:05 00:28:02:18 00:28:04:13 Just 00:36:39:09 enough to get by, the 00:26:21:10 00:26:23:05 she feels her aunt Aiskid. difshoes. like normal people. toto understand the way w 1:49:15 00:21:53:00 It’s awful to right have die.! amount 00:29:48:03 00:29:49:08 If I went on my own 00:34:53:06ferent, 00:34:55:18 00:31:23:21 00:31:25:11 00:24:57:09 00:24:59:06 s born too quickly, I it’s her.

I’ve got no fears...

It’s her, let’s say it’s a00:36:41:09 cancer... 00:36:43:20 :23:28:13 00:18:34:01 00:18:37:10 I’m happy with what 00:26:23:09 I’ve 9:05 ..

00:33:29:23 00:33:32:00 00:28:04:17 00:28:07:04 00:26:25:11 8 00:33:23:02 00:33:24:02 kpeople We know music, 00:20:17:24 00:20:19:16 how I, handicapped nor too gi po We 00:31:25:24 know die, wetoo allarich, 00:34:56:14because 00:34:58:02 00:29:49:13 I’d get tired after two we’ll Neither she says: got.

00:31:27:00 thanks to money,00:29:51:03 feels...

1:54:17 00:21:57:05 know that.

It’s love and... others create kilometres. them for me. a cancer. :23:31:22 00:18:37:16 00:18:40:06 00:24:59:12 00:25:01:24 00:33:32:04 00:33:33:16 0:15 ught too many things 1hat I am...

00:20:19:23 00:20:21:09 00:33:24:06 00:36:44:06 00:36:45:21 somewhere in between. we know00:35:01:12 about politics, To be freer, 00:33:26:18 s. at once.

00:35:02:22 00:28:07:21 00:28:12:03 00:26:25:21 y “Auntie, you’re normal, but00:29:51:09 you do need 00:29:56:02 money to live.00:26:27:01 00:31:27:06 00:31:29:16 I want people to unders about art, feeling good with everyone. the spirit is remains, Inside of me II’d feel like an to in-know If Loneliness bad... :23:35:09 00:33:34:07 00:33:35:17 00:25:02:08 00:25:03:08 3:21 1:57:15 00:21:59:03 then I think... credible quiet, 00:33:27:01 00:33:29:19 00:20:21:13 00:20:22:19 00:36:47:00 But not too rich,00:36:50:06 it ? up 00:18:41:02 00:18:42:08 more independent, 00:35:04:15 air grown now, 00:35:03:12 sadly, 00:26:27:05 00:26:28:18 Just enough to get by, the 3 “for me you’re normal”. how I feel, how I cope, 00:31:31:02 00:31:32:08 we know about cinema, Happiness is...

00:28:15:24 00:28:17:23 right amount !

00:29:56:23 00:29:58:22 all the most beautiful .:23:39:12 but you feel good 00:33:35:21 00:33:38:23 00:25:03:12 00:25:05:16 1:59:07 00:22:01:03 I’ll still be otherwise alive. an incredible things peace.

00:36:51:01 00:36:52:04 00:20:23:02 you become mean wi what am...

00:35:05:09 00:35:07:0100:20:25:13 00:18:42:14 00:18:44:15 toisbe able to do what eve6:02 can’tI do anything 00:33:29:23 00:33:32:00 how I live.

2 While non-normality the people, 00:31:32:12 00:31:33:24 feeling good with other people. ryone else too does.

It it, we know lots of things.

Neither rich, nor too poor, 00:28:18:19 00:28:20:08 00:26:28:22 00:26:29:22 00:29:59:01 00:30:00:22 ’t opposite sense. you’re with other people. :23:42:12 00:36:58:00 What remains of us00:36:53:16 I don’t think in about the it, world, 00:33:39:17 00:33:42:02 00:35:08:06 00:35:10:08 that’s 00:18:44:20 it.

00:18:47:04 00:25:05:20 00:33:32:04 00:33:33:16 2:01:14 00:22:03:06 It’s like a part me, but... 00:25:07:15 become greedy withofmoney 00:20:25:21 Happiness is being with00:20:28:07 all 00:31:34:06you 00:31:36:02 I don’t know... like workTo have a house, a villa. somewhere in between.

8:06 n’t go back, those 00:28:20:21 00:28:22:18 00:26:30:02 00:26:31:19 4 That is, not doing what Friendship prevents you from :23:45:18 ing, 00:36:58:06 00:37:00:05 t’s a on this earth is our body, 00:33:42:14 00:33:44:06 00:30:01:05 00:30:03:17 know what they are being alone. eelother people do. very impor00:33:34:07 00:33:35:17 00:25:07:19 00:25:08:19 a partonly of her, 2:04:20 00:22:06:10 you think about yourresign 00:35:10:13 00:35:12:04 Butthen not I too rich, myself, 00:18:48:05 00:18:49:13 A job, have to keep who going self...

00:28:23:19 00:28:25:17 00:26:33:05 00:26:34:07 are fond of me, 00:31:36:06 00:31:39:13 00:20:28:11 00:20:30:00 00:37:00:12 00:37:02:19 going around, ard.

1:24 but our soul and our I’m not alone, I’ve got lots of 00:30:04:23 00:30:06:11 and make friends, 6 Each day...

00:33:35:21 00:33:38:23 :23:50:01 a part of someone else.

00:25:09:18 00:25:10:24 00:33:44:10 00:33:45:17 with spirit, 00:35:12:11 00:35:15:11 friends, like everyone. the otherwise you become mean with roup of 00:18:50:18 00:18:52:24 friends I don’t like that.

2:06:15 00:22:09:08 like Giovanna... like those in 00:26:34:11 00:26:36:06 00:20:31:11 00:20:33:24 people, 00:37:04:18 00:37:06:13 going to see friends. only thing I’dmylike to always seems a little bit group 00:31:41:15 00:28:27:07 00:30:06:15 00:30:08:18 get to know lots 00:28:26:03 of 00:31:39:17 peoWhat would you like to 00:25:11:12 00:25:12:21 7:14 ge like00:33:45:22 my sisters,00:33:49:03 my arethey’re like... ple,clock move The hands on the 8 longer...

00:33:42:02 :23:53:01 If you’ve got just enough, 00:18:55:08 and 00:33:39:17 activities.

00:35:17:00 00:35:18:19 brothers, my con- 00:18:53:13 forward... you become greedy with money, .

00:37:06:17 00:37:09:03 rtain peoI’m notofthe kind 00:20:34:05 of person Sant’Egidio who love00:20:35:15 me.

2:12:06 00:22:14:21 00:28:29:08 00:28:32:13 00:26:36:10 00:26:37:15 these people that you’v 00:33:49:11 00:33:52:00 00:31:41:19 00:31:43:21 00:25:13:08 00:25:15:02 birds flying high... fly need to 00:33:42:14 00:33:44:06 00:30:08:22 00:30:10:10 have new friends... never told to them 3f I could meet... endless. you don’t be ?a mil00:35:20:02 00:35:24:12 my dad, my mum.

00:18:55:12 00:18:56:16 I do have one dream...

8:20 heaven. you think only aboutgoes yourevery hour that by lionaire :23:55:06 Making someone who has less stands aside, 2:16:05 who 00:22:20:14 self...

00:37:09:11 00:37:12:02 00:26:39:20 00:26:41:07 00:20:36:02 00:20:38:05 than me happy.

00:31:44:00 00:31:47:14 00:25:15:11 00:25:18:12 much earlier in life And you always do the 00:28:32:19 00:28:34:22 Something you feel deep 00:30:10:14 00:30:11:20 have fun, same I got myself00:33:52:22 a dog so as00:33:56:13 not to 00:18:56:20 00:18:59:06 which is to never stop 00:33:44:10 00:33:45:17 0:18 inside.

Freely flying in sky, you’re afraid you’ll die. butthe if you’ve got just enoug 8 things 00:35:25:11 00:35:26:20 be alone. :24:03:16 I always try to help those working.

I don’t like that.

2:21:06 00:22:23:08 ways in 00:26:41:11 00:26:43:19 do Doing something, sy to be in able need, 00:37:12:22 00:37:14:05 youth, 00:28:37:01 00:33:59:18 00:34:03:02 00:30:12:02 00:30:13:19 have a life like 00:28:35:13 that 00:20:38:09 00:20:39:22 00:31:48:05 00:31:49:20 00:33:45:22 00:33:49:03 00:25:20:24 00:25:21:24 Thatafford I love touching the clouds, you can to them... have a chil I’m scared because to00:35:30:05 make time go faster.

00:35:27:04 Being alone...

If you’ve got just enough, 00:18:59:10 00:19:00:16 Because I think 2:24:09 00:22:25:23 2:15 00:26:43:24 00:26:47:01 also doing things for the good 5 :24:06:19 00:37:16:23 00:37:18:21 also because there’s alFabrizio. l, see 00:34:03:18 00:34:05:00 00:28:37:16 00:28:40:02 00:30:15:00 00:30:17:03 of all normal people. of others, 00:20:41:05 00:20:44:23 00:31:51:17 00:31:53:23 t be fond of 00:33:49:11 00:33:52:00 thatthan I love them, that’ ways someone No come more that. making the my rain without wife... then I 00:25:24:19 wouldn’t Non-normality I see00:25:22:03 you don’t bebea able mil- to life is beingneed withto00:26:52:07 2:26:02 00:22:29:18 down... that’s it.

00:35:30:24 00:35:34:07 experience 00:26:53:21 lionaire 00:37:38:08 00:37:40:05 00:19:00:21 00:19:01:21 friends, yes that too, 00:34:05:10 00:34:06:14 aged 54.

5:19 that’s happiness too, for ex00:31:55:24 00:31:56:24 I think... friendship.

8:24:09:02 00:20:45:09 00:20:48:22 #01 VIDEO-CABIN #0 Rich WORK ? us. an an- who needs ample.

I’d be afraid...

00:28:40:14 00:28:42:20 00:30:17:07 00:30:18:20 in today’s world, I see 00:33:52:22 00:33:56:13 00:25:24:23 00:25:27:01 2:30:02 00:22:32:06 I think that after things in life.

00:26:57:10 it... butthe if beautiful you’ve got00:26:55:00 just enough, 00:19:04:06 but mainly it’s work.

00:35:34:11 00:35:36:08 00:31:57:03 00:34:06:20 00:31:59:07 00:34:08:17 like to 00:19:02:22 be a child death...

It’s a gift 1:24:11:09 Money give you happi We’re not so weak Happiness is finding while before, evendoesn’t if I was n, 9:16 00:33:59:18 00:34:03:02 00:30:19:01 00:30:21:07 00:20:49:05 00:20:52:02 ness. alone... 00:28:48:06 00:25:27:10 00:25:31:06 upposed 00:28:44:20 you afford to 00:26:58:15 have child.00:27:00:04 think death is a awheel...

I 00:35:39:20 hear about it a lot inI can 00:35:37:08 00:19:04:21 00:19:06:13 I think the future belongs 2:33:08 00:22:34:10 if we’ve been hon- 00:34:11:08 you should never only refuse.

1:24:13:13 the TVhaven’t news, seen person 00:32:01:04 00:34:09:13 00:32:03:20 can’t helpyou others. to me. ’s all. that wethat 00:34:03:18 00:34:05:00 est...

00:30:22:07 00:30:23:20 ent, This gives you happiness... for so long, I was content with other ne’s heart, 2:14 No amore than that. wheel that goes 00:27:00:09 round 00:27:01:22 00:20:52:06 00:20:53:19 your heart. things.

00:19:07:04 00:19:08:13 00:25:31:12 00:25:33:03 2:34:16 00:22:36:12 ot, I 00:28:51:04 00:28:52:15 Yes, the most precious 8 read about it in the pa00:35:40:18 00:35:43:02 We’re humanity. pers.

I’d 00:34:05:10 like to study 00:34:06:14 happy as I am. we’ll go to heaven.

00:34:12:15 00:30:23:24 00:30:25:07 things happiness is when you’re so 00:32:09:10 00:32:12:03 00:34:13:20 :24:14:19 Rich I must say... and? round and round happy 00:19:12:06 What shall IWell, do, what shall I gs.

00:19:08:19 00:25:34:13 00:25:35:20 2:36:20 00:22:38:23 4:13 00:28:52:24 00:28:54:04 00:27:02:01 00:27:04:23 0 00:20:53:23 00:20:56:21 do... ?

00:34:06:20 00:34:08:17 mefine normality... artfor I’m as n this... the For 00:34:13:24 Otherwise I don’t know...00:34:16:17 00:30:26:01 00:30:28:04 are my friend and the per00:35:43:22 00:35:45:20 ople That’s not normality Money doesn’t give you happi:24:20:04 . bit of wealth wouldn’t be that you could I love. and sooner or son later this 00:32:12:10 a00:32:14:13 me. change the ness.

S WHAT I’D 00:19:13:16 00:25:37:10 00:25:38:17 at all, 00:28:54:08 world,00:19:15:07 Basically, 00:28:55:19 you don’t know what wheel breaks 7 is being considered and make videos.

2:39:05 00:22:40:23 7:08 perhaps to do purgatory.

00:27:05:18 00:27:11:03 h00:20:57:24 00:20:59:09 00:34:09:13 00:34:11:08 00:34:16:21 00:34:18:24 happy this, feel aI’m like00:35:46:10 00:35:47:16 THE LEAST IMPORTANT THING 00:30:28:08 00:30:30:20 I think normality is This gives00:25:43:09 you happiness... :24:23:18 what with all the troubles I 00:19:15:15 00:19:19:01 00:25:38:23 that you can change, 00:32:14:17 00:32:16:21 00:28:55:23 00:28:58:19 andheart. that’s when IS your MERITS.§ life your friend. got... an absolutely normal perI’d sell everything I’ve afterwards, you don’t know what 2:41:02 00:22:43:05 If God wants me in heaven, 8 00:20:59:13 00:21:01:15 stops. son, 00:35:47:20the gotnorhere 00:35:49:17 to do. use everyone...

0:12 00:27:12:18 00:27:15:16 00:34:12:15 00:34:13:20 fact that I feel 00:34:19:23 00:34:21:07 :24:28:17 that you can change other 00:28:58:23 00:29:01:09 Well, I must say...

00:30:31:06 00:30:33:05 To never give other people mal a little bit rich, yes... rried and00:22:48:04 people.

00:32:19:07 00:19:25:11 00:25:44:23 00:25:49:06 go there,00:32:21:13 if God And then what’s problems. done is done. I’ll 22:45:16 00:19:20:11 Okaymethen...

I’m here, uh ! andme. not being considered and 00:34:13:24 go to the other side o fond of 4:11 00:34:16:17 wants there.

00:21:02:00 00:21:03:14 00:34:21:11 00:34:23:06 00:35:49:23 00:35:51:01 of the world.

Often disabled. a bit of wealth wouldn’t be bad 00:27:15:22 00:27:17:01 00:30:36:09 00:30:38:03 andwhen there’s lots of people not too much, mind !

Happiness is 00:32:23:00 but 00:32:24:00 :24:31:18 at I’ve all, never metI her, 2:48:10 00:22:50:16 00:29:02:17 00:29:05:16 think work Basically... d anyone.

00:19:27:09 00:19:29:24 00:25:49:18 00:25:52:16 is what I am, Where the future will take 00:34:23:10 00:34:24:19 5use this 00:21:03:18 00:21:05:01 00:35:51:05 00:35:53:04 It’s being understood, apMy great dream 00:34:18:24 is 00:30:41:13 to go 00:34:16:21 6:14 us,00:32:24:14 No more than that.

00:30:40:02 00:27:17:12 00:27:19:11 out who seem normal I’m happy because I’ve helped round 00:32:26:04 :24:36:06 what with all theI’ve troubles I’ve of thing the world, 2:50:20 preciated.

00:22:52:13 also because is the got greatest lots someone. neither rich nor poor. d,ishave got... how aI was made 00:34:28:17 00:34:31:12 00:29:05:20 00:29:07:15 there is.

00:21:05:07 00:21:06:19 friends. ob.

00:19:30:03 00:19:32:05 00:25:54:16 9:15 think that perhaps we’ll have to I00:32:29:24 wait and 00:35:54:14 00:35:57:23 00:32:26:23 4 but might not be. 00:25:53:07 00:34:19:23 00:34:21:07 these great things. without ever stopping.

2:52:18 00:22:54:17 any- All see.

Helping someone, that’s my hapLike Del Piero, basically...

00:27:19:24 00:27:21:00 00:30:41:17 00:30:43:12 :24:38:02 00:34:32:01 00:34:36:08 people like mepiness. for it. 00:21:06:23 00:21:09:17 It’s never happened Drawing to and me... painting able 00:19:34:13 00:19:40:11 00:25:54:23 00:25:55:23 we can see happiness 00:29:07:21 00:29:09:13 00:32:30:12 00:32:32:17 9 We’re the same... human.

IS DENYING DIFIn Australia, 2:54:21 NORMALITY 00:22:56:03 1:12 00:35:59:24 00:36:03:20 wish...

I wish, If Iyou’ve been good 00:30:43:16 00:30:45:17 00:27:21:04 00:27:23:02 e :24:39:19 00:34:36:20 00:34:38:03 FERENCES.§ n’t want to say give, This project is called 00:21:21:03 “I is No ! I’ve got come my mum. before anything else.

00:21:19:11 veryone in lots of ways.

00:25:56:02 00:25:59:07 another”. I’d change everything 00:32:32:23 00:32:34:18 00:29:09:17 00:29:11:20 in where’s there’s kangaroos whatdone I wish for.

2:56:07 00:19:40:23 00:22:57:21 00:19:43:05 3:02 andit’s you’ve lots of 00:30:46:06 00:30:50:00 00:27:23:09 00:27:26:16 2 my00:36:06:14 life.

00:34:38:12 00:34:40:07 00:36:04:02 Believing in yourself, in theLoneliness open air. really like to be this or good Beingscares nice, all of us,things Life is beautiful... many :24:41:03 What do you think about his 00:32:34:23 00:32:39:06 ”.

00:21:21:07 00:21:23:13 me... yes ! sible, 00:19:43:15 title 00:19:45:09 ?

I don’t think wealth brings 00:25:59:12 00:26:01:01 4:08 00:29:11:24 00:29:13:15 00:27:26:20 00:27:30:12 No, now I feel satisfied, 00:34:40:18 00:34:43:18 how...

Where 00:30:50:17 no one’s going 2:58:00 that’s 00:22:59:19 youhappiness. go to heaven 00:30:53:13 toto people with AIDS...

3:24:43:07 the and.. world is beautiful, 00:36:10:17 00:36:13:03 say I want to be what I No... I keep myself company 00:21:25:06 00:21:27:04 Well, 00:19:49:08 we could say that...

00:32:39:17 00:32:41:24 eg that’s 00:19:46:17 6:22 00:29:16:00 00:29:17:22 00:27:30:16 00:27:32:18 00:34:44:00 00:34:45:05 I feel really satisfied. anyway.

Money goes. my situation can be saved.

00:26:01:05 00:26:03:08 side think heaventhe exists. sun is beautiful, something to helpI people.

5 00:36:13:15 00:36:15:10 anything to you, no one

ALESSANDRO ZUCCARI The anti-heroic eloquence of the marginalised As confirmed by sources, it has been an established custom ever since ancient times to set up galleries of eminent individuals. Their purpose was not only to save philosophers, scholars, politicians or heroes from oblivion, but first and foremost to present them to contemporaries as exempla virtutis against whom they could measure themselves and live symbolically side by side. The tradition was revitalised in the days of pre-Humanism and Humanism that – on historic and literary grounds – reintroduced with vigour and, in a sense, codified these series of representations with the meaning of the illustrated tributes explained in words by tituli.

As is widely known, this literary and iconographic genre was revived thanks to a rediscovery and re-interpretation of classical biographical models, from Diogenes Laertius to Plutarch to Suetonius, considering also the importance attached by Plinius the Elder and Marcus Terentius Varro to portraits of famous men. But it was Petrarch who, through his introduction of a new critical consciousness, was the leading figure in this rediscovery: with his De viris illustribus, he played a central role in creating, in Padua and elsewhere, important 14th century pictorial cycles of evident political and civil value (as to the female side, explored by Boccaccio De claris mulieribus based on Mulierum virtutes by Plutarch, it met with alternating fortunes). Galleries of famous men and women became common in cities and small towns a long time before Raphael presented in his School of Athens, The Dispute and the Parnassus, the harmonious and unifying “summons” of the best amongst both ancient and recent talents.

The best known amongst the surviving series of this kind is Andrea del Castagno’s for the Villa Carducci in Legnaia of the mid-15th century. This cycle presents three Florentine #46

I/O_WORK #01 VIDEOCABINA #3, 2011-2013, still from HD video, color, stereo, 38’ ”

“captains”, three ancient “heroines” and the three most important Tuscan poets within a system of perspectives in which each is isolated (“framed” in segments against a dark background) so as to mark their identity and dignity. This triadic depiction brings to mind the cortège of the neuf preux, with the three pagan, three Jewish and three Christian worthies born from the jester literature of France and widely appreciated throughout Europe. But it is clear that to glorify Florentine virtus the artist favoured his compatriots, reducing by half the presence of “other” heroes including only three female characters (the Cumaean Sybil, Jewish Queen Esther and Asian Queen Tomiri).

Arranged according to a noble and orderly sequence, with its inclusions and exclusions, this selection of eminent personalities provides us - as Eugenio Battisti has pointed out – with a clear “snapshot of the history of mentalities”.

In the field of art too, indeed, election and exclusion are not dictated only by subjective judgements but are linked to a specific culture that, in its different forms and manifestations, either mirrors or reacts to the spirit of the times.

But what is the connection between all this and the Opera #01 videocabina#03 developed, at Simonetta Lux’s invitation, by César Meneghetti with the Sant’Egidio Community’s Art Atelier?

At first sight, the connection might be considered accidental, but this is not the case as Meneghetti’s stature as a cultivated and knowledgeable artist can be seen to surface in his works. He is certainly no stranger to the great themes of the art of the past.

The cycle of eminent individuals is neither a starting point nor a fundamental point of reference for him but, rather, it constitutes a sort of dialectic counterpoint that has surfaced like the re-emergence of an underground river.

Indeed, his research originates from different elements and is always informal, poetical and innovative, marked by a lively interest in global issues, as proven by I/O _IO È UN ALTRO, the Special Project for which the artist accepted to meet the challenge of a process “open to the unpredictability of encounters and the possibility of modifications and that has revealed an inner boundary even to the artist himself” (Simonetta Lux).

In investigating the boundaries of “normality” and becoming involved the liberating/ educational process launched some time ago in the Sant’Egidio Art Ateliers, from the outset Meneghetti established a truthful relationship on a par with the disabled persons involved in the Ateliers. Having heard the tales of exclusion and reclusion (in psychiatric centres and hospitals) experienced by many of them branded by prejudice and at times wrong diagnoses, he launched a process of investigation and interaction without any pre-established outcome where “subjects and objects exchange roles” and everyone puts him/herself on the line, whether disabled or not (the artist included).

Thanks to this process mentally disabled persons, general defined solely by their deficit, were able to manifest the keenness and depth of their thought processes often denied or ignored by others on the basis of unreasonable prejudice and a mechanism of social exclusion.

Through the VIDEO BOOTH device – that “captures” all the interlocutors and registers looks, gestures, attitudes, words (including those of people who cannot speak but use a #48

I/O_WORK #01 VIDEOCABINA #3, 2011-2013, still from HD video, color, stereo, 38’ ”

computer keyboard) –, Meneghetti has created an effective sequence of single images that, set in a four-piece frame, can be exchanged and interact with each other.

The result is a highly original Gallery of People who present themselves unfeignedly, with their dignity and their frailty, and express themselves following the principle of truth on fundamental issues (happiness, love, reality, solitude, death, reclusion, wealth, change, normality and diversity …).

And here lies – with a disruption of the customary scale of values – the connectioncontrast with galleries of famous men: Meneghetti’s works (using different procedures and contemporary devices) share with them the basic pair of words and images. The artist has however changed the nature of his Gallery compared with the prototype.

And, to underscore the inclusive procedure he has actuated, he has added a fourth element to the triad, and considerably expanded the presence of the “Other”: not famous personages but persons. Persons habitually viewed as incapable and marginal who, put in a position to exercise their freedom of expression, succeed in achieving a level of parity with normal or distinguished individuals.

It is almost the opposite of a canonical gallery of heroes and heroines, because the way in which they present themselves is anti-heroic just as their beauty is anti-canonical: they are beautiful because they are authentic. Not exempla virtutis but rather almost exempla veritatis. Indeed, there is nothing artificial in the way they behave, just as there is no rhetoric in their words. They are what they are: they do not conceal their difficulties nor despise their own frailty. They do not seek to escape but are available for relations with others; they describe their experience of exclusion and discrimination with gentle straightforwardness; they candidly ask themselves and us questions about global issues. In full contrast with conformist self-sufficiency models, they give the impression of being wholly disarmed and disarming.

The process actuated by Meneghetti and the structured system of video images documenting it, starting from the fringes and exploring the boundaries of “normality”, involve a patient and complex journey of discovery of all that is submerged. By taking into account objective and subjective communication difficulties, the process succeeds in enabling persons rejected by society to express themselves. The result is extraordinarily effective. It calls upon us to break down the barriers of prejudice that separate us from others who are “different”, encouraging us not to avoid them, as we normally do, but rather to listen and establish a dialogue with them.

By presenting this anti-heroic eloquence of the marginalised that communicates with Humanism from a distance, on the whole Meneghetti is exhorting us to reflect upon and act within the perspective of a “global Humanism”.

#50

I/O_WORK #01 VIDEOCABINA #3, 2011-2013, still from HD video, color, stereo, 38’ ”

Alessandro Zuccari Antieroica eloquenza deGli esclusi Sin dall’antichità classica, come attestano le fonti, era invalso l’uso di creare gallerie di uomini illustri con cui non si intendeva solo sottrarre all’oblio filosofi, letterati, politici od eroi, ma in primo luogo riproporli nel presente quali exempla virtutis con cui confrontarsi e convivere idealmente. Questa tradizione è stata rivitalizzata nell’età preumanistica e umanistica che – a partire da premesse storico-letterarie – ha fortemente rilanciato e per certi versi codificato tale tipologia di rappresentazioni seriali nelle quali, per mezzo di tituli, era esplicitato verbalmente il senso dell’omaggio figurato.

Questo rinnovato genere iconografico-letterario, com’è noto, si deve alla riscoperta e rilettura dei modelli biografici classici, da Diogene Laerzio a Plutarco a Svetonio, nonché all’importanza che Plinio il Vecchio e Marco Terenzio Varrone avevano attribuito ai ritratti di uomini famosi.

Ed è stato il Petrarca, portatore di una nuova coscienza critica, il vero protagonista di tale riscoperta: con il suo De viris illustribus egli fu determinante per la creazione, a Padova e altrove, di importanti cicli pittorici trecenteschi dall’esplicita valenza politica e civile (il versante femminile, esplorato da Boccaccio nel De claris mulieribus sulla scorta del Mulierum virtutes di Plutarco, ebbe una fortuna più discontinua). Si diffusero così nelle grandi città e nei piccoli centri vere e proprie gallerie di uomini e donne illustri, ben prima che Raffaello concepisse nella Scuola d’Atene, nella Disputa e nel Parnaso quell’armonica e unificante “convocazione” dei migliori ingegni antichi e recenti.

La più nota tra le superstiti figurazioni seriali di questo genere è quella realizzata a metà Quattrocento da Andrea del Castagno per la villa Carducci di Legnaia. Questa allinea tre #52

I/O_WORK #01 VIDEOCABINA #3, 2011-2013, still from HD video, color, stereo, 38’ ”

“capitani” fiorentini, tre antiche “eroine” e i tre più celebri poeti toscani entro un’intelaiatura prospettica che isola ciascuna figura (“inquadrata” in segmenti dal fondale scuro) per marcarne l’identità e la dignità. L’articolazione triadica richiamava il corteo dei neuf preux, il canone di tre prodi pagani, tre ebrei e tre cristiani nato dalla letteratura giullaresca di Francia e propagato in Europa da un’immensa fortuna visiva. Ma è evidente come il pittore, per esaltare la virtus fiorentina, abbia privilegiato i connazionali e dimezzato la presenza di eroi “altri” concentrandola nel terzetto femminile (la Sibilla Cumana, la regina ebrea Ester e l’asiatica regina Tomiri).

Impostata secondo una nobile e ritmica sequenza, questa selezione di personaggi illustri, con le sue preferenze e le sue esclusioni, ci mostra – per dirla con Eugenio Battisti – un nitido “fotogramma di storia della mentalità”.

Anche in campo artistico, infatti, l’elezione e l’esclusione non dipendono soltanto da scelte soggettive ma si iscrivono in una determinata cultura che nelle diverse forme e manifestazioni riflette lo spirito del tempo o reagisce ad esso.

Ma che attinenza ha tutto questo con l’Opera #01 videocabina #03, che César Meneghetti ha realizzato con i Laboratori d’Arte della Comunità di Sant’Egidio in seguito all’invito di Simonetta Lux a collaborare con loro?

A prima vista tale associazione appare del tutto fortuita, ma non lo è se si considera che nel lavoro di Meneghetti affiora la sua statura di artista colto e consapevole, tutt’altro che estraneo ai grandi temi dell’arte del passato. Il ciclo degli uomini illustri non è certo per lui un punto di partenza né un decisivo termine di confronto, ma rappresenta una sorta di contrappunto dialettico sopraggiunto come una carsica riemersione.

Da tutt’altre premesse, infatti, prende le mosse la sua ricerca, sempre sbilanciata, poetica e innovativa, connotata da un vivo interesse per le questioni globali, come dimostra I/O _IO È UN ALTRO, lo Special Project in cui l’artista ha accettato l’azzardo di un processo “aperto all’imprevedibilità dell’incontro e alla possibilità di cambiamento e ha svelato anche a se stesso un confine interiore” (Simonetta Lux).

Indagando sul confine della “normalità” e confrontandosi con il processo liberatorio-formativo avviato da tempo nei Laboratori d’Arte di Sant’Egidio, Meneghetti ha in primo luogo istituito un rapporto paritario e veritiero con le persone disabili coinvolte nei Laboratori. Apprese le storie di esclusione e reclusione (in istituti e ospedali psichiatrici) di molti di loro, segnati dallo stigma del pregiudizio e persino da diagnosi del tutto infondate, egli ha avviato un processo di indagine e di interazione dall’esito non preordinato in cui “soggetti ed oggetti si scambiano i ruoli” e tutti si mettono in gioco, disabili e non (artista compreso).

Grazie a questo processo, persone con disabilità mentale, generalmente definite solo per il loro deficit, hanno potuto manifestare tutta la loro acutezza e profondità di pensiero che irragionevoli pregiudizi e meccanismi di esclusione sociale portano a negare o ignorare. #54

I/O_WORK #01 VIDEOCABINA #3, 2011-2013, still from HD video, color, stereo, 38’ ”

Attraverso il dispositivo della VIDEOCABINA – che “inquadra” tutti gli interlocutori e ne registra gli sguardi, i gesti, le attitudini, le parole (incluse quelle di chi non può pronunciarle ma le digita al computer) – Meneghetti ha creato un’efficace sequenza di singole immagini che, montate in uno schema quadripartito, si scambiano e interagiscono.

Ne deriva una originalissima Galleria di Persone che si presentano per quello che sono, con tutta la loro dignità e fragilità, e che si esprimono secondo un principio di verità su temi di grande portata (felicità, amore, realtà, solitudine, morte, reclusione, ricchezza, cambiamento, normalità e diversità…).

Ed ecco – ribaltando la consueta scala dei valori – la connessione-contrasto con la galleria degli uomini illustri: con essa peraltro l’opera di Meneghetti condivide (con altre procedure e con dispositivi contemporanei), il basilare binomio parola-immagine. L’artista, dunque, muta di segno la sua Galleria rispetto al prototipo, ma non solo. Per evidenziare il procedimento inclusivo da lui attivato aggiunge alla tipologia della triade un quarto elemento, e dilata notevolmente le presenze “altre”: non personaggi famosi, ma persone. Persone abitualmente considerate inabili e marginali che, messe in grado di esercitare il diritto di espressione, ritrovano un piano di parità con soggetti normali o illustri.

E’ quasi l’opposto di una canonica galleria di eroi ed eroine, perché antieroico è il loro modo di presentarsi e anticanonica è la loro bellezza: sono belli perché sono veri. Non più exempla virtutis ma quasi exempla veritatis. Infatti, non c’è artificiosità nei loro gesti, come non c’è retorica nelle loro parole. Si mostrano come sono: non nascondono le loro difficoltà e non disprezzano la loro fragilità. Non sfuggono ma si prestano al rapporto con l’altro; esprimono con mite naturalezza le loro esperienze di esclusione e discriminazione; si interrogano e ci interrogano con immediatezza su temi globali. In pieno contrasto con i conformistici modelli di autosufficienza, appaiono del tutto disarmati e disarmanti.

Il processo attivato da Meneghetti, e l’articolato sistema di videoimmagini che lo documenta, partendo dal margine ed esplorando il confine della “normalità” prevede un percorso paziente e complesso che va alla scoperta di ciò che è sommerso. Tale processo, tenendo conto delle difficoltà di comunicazione oggettive e soggettive, giunge a dare espressione a chi è rifiutato dalla società. Il risultato è di straordinaria efficacia. Ci invita a smontare la barriera del pregiudizio che ci separa dall’altro, il “diverso”, e ci chiede di non evitarlo, come si fa abitualmente, ma di ascoltarlo e di confrontarsi con lui.

In definitiva Meneghetti, presentandoci questa antieroica eloquenza degli esclusi che dialoga a distanza con l’Umanesimo, ci spinge a riflettere e ad agire nella prospettiva di un “umanesimo globale”.

#56

I/O_WORK #01 VIDEOCABINA #3, 2011-2013, still from HD video, color, stereo, 38’ ”

I/O_WORK #14, SISTERS C, 2011, still from video in progress, mono channel HD video, color

OPERA #05 BIOGRAFIE MINIME

I/O_ WORK #05, MINIMAL BIOGRAPHIES, 2012-2013, (1 to 15 portraits of 200 ), digit photos

WORK #05 MINIMUM BIOGRAPHIES

I/O_ WORK #05, MINIMAL BIOGRAPHIES, 2012-2013, (1 to 15 portraits of 200 ), digit photos

I/O_WORK #05_ MINIMAL BIOGRAPHY _ MARIO LA PORTA , 2012, digit photo

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BIOGRAFIE MINIME is the photographic section that is complementary to the VIDEO BOOTH and presents 200 photos of 200 persons with disabilities of the Sant’Egidio Art Ateliers where the project was carried out. This corresponding though independent work creates a visual atlas and captures something more, beyond images and words, about some of the 800 people who attend the 10 Ateliers in Rome. Portraits of people of different ages, religious beliefs and social backgrounds. I’d like to write something about a metaphor associated with these photographs, even in contrast with personal biographies, thoughts, written words, unintelligible sounds, catatonias, autisms.

What do the portraits represent?

The closer we come to them the more clearly we see their beauty as kalòs kagathòs.

This is the beauty they portray: truth, reality.

This aspect of the study is one of the pillars of the project/process and is to be found in the video booth, the encounters, work shops and VERIFICATION #2: the study’s theme is the notion of the beauty of non-beauty.

#64

BIOGRAFIE MINIME è la parte fotografica e insieme complementare della VIDEOCABINA. È composta di 200 foto di 200 persone con disabilità dei Laboratori d’Arte di Sant’Egidio nei quali tutto il progetto si è realizzato. Questo lavoro parallelo ma indipendente crea un atlante visivo e coglie qualcosa in più, tra l’immagine e la parola, di alcuni degli 800 frequentatori dei 10 Laboratori romani. Ritratti di persone di diversa età, religione e ceto sociale. Qui vorrei scrivere qualcosa su una metafora che queste foto rappresentano, anche in contrasto con le loro biografie personali, pensieri, scritti, suoni inintelligibili, catatonie, autismi.

Che cosa vuole rappresentare il ritratto?

Quanto più ci facciamo prossimi, tanto più vediamo la loro bellezza come kalòs kagathòs, rappresentazione di questa bellezza: verità, realtà.

Questo aspetto della ricerca è uno dei punti cardini del progetto/processo, già nella videocabina, negli incontri, nei workshops, nella VERIFICA#02: tema della ricerca, il concetto della bellezza della non bellezza.

#65

INGLESE I/O_OPERA #05_ BIOGRAFIE MINIME _ GIANNI, 2012, fotografia, dimensioni variabili.

I/O_OPERA #05_ BIOGRAFIE MINIME _ MAURIZIO, 2012, fotografia, dimensioni variabili.

I/O_OPERA #05_ BIOGRAFIE MINIME _ GIANNI, 2012, fotografia, dimensioni variabili.

I/O_OPERA #05_ BIOGRAFIE MINIME _ MAURIZIO, 2012, fotografia, dimensioni variabili.

I/O_WORK #05_ MINIMAL BIOGRAPHY _ GIUSEPPE VOMERO , 2012, digit photo

I/O_WORK #05_ MINIMAL BIOGRAPHY _ NARLY BERMEJO CUADRO, 2012, digit photo

I/O_WORK #05_ MINIMAL BIOGRAPHY _ GABRIELLA TAGLIARINO, 2012, digit photo

I/O_WORK #05_ MINIMAL BIOGRAPHY _ PAOLO PETESE, 2012, digit photo

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INGLESEI/O_OPERA #05_ BIOGRAFIE MINIME _ GINA , 2012, fotografia, dimensioni variabili.

I/O_OPERA #05_ BIOGRAFIE MINIME _ GABRIELLA , 2012, fotografia, dimensioni variabili.

I/O_WORK #05_ MINIMAL BIOGRAPHY _ GINA FEO, 2012, digit photo I/O_OPERA #05_ BIOGRAFIE MINIME _ GINA, 2012, fotografia, dimensioni variabili.

I/O_OPERA #05_ BIOGRAFIE MINIME _ GABRIELLA, 2012, fotografia, dimensioni variabili.

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I/O_WORK #05_ MINIMAL BIOGRAPHY _ MARIANNA CAPRIOLETTI, 2012, digit photo

INGLESE I/O_OPERA #05_ BIOGRAFIE MINIME _ MARIANNA , 2012, fotografia, dimensioni variabili.

I/O_OPERA #05_ BIOGRAFIE MINIME _ MARIA GRAZIA, 2012, fotografia, dimensioni variabili.

I/O_OPERA #05_ BIOGRAFIE MINIME _ MARIANNA , 2012, fotografia, dimensioni variabili.

I/O_WORK BIOGRAPHY IVAN MARCIANO, 2012,fotografia, digit photodimensioni variabili.

I/O_OPERA#05_ #05_MINIMAL BIOGRAFIE MINIME __ MARIA GRAZIA, 2012,

I/O_WORK #05_ MINIMAL BIOGRAPHY _ DIEGO PROIETTI, 2012, digit photo

I/O_OPERA #05_ BIOGRAFIE MINIME _ IVAN, 2012, fotografia, dimensioni variabili.

I/O_OPERA #05_ BIOGRAFIE MINIME _ MARIA GRAZIA, 2012, fotografia, dimensioni variabili.

I/O_OPERA #05_ BIOGRAFIE MINIME _ IVAN, 2012, fotografia, dimensioni variabili.

I/O_WORK BIOGRAPHY ROMINA PARENTE, 2012, digit photo I/O_OPERA#05_ #05_MINIMAL BIOGRAFIE MINIME __ MARIA GRAZIA, 2012, fotografia, dimensioni variabili.

I/O_WORK #05_ MINIMAL BIOGRAPHY _ ANTONIO SPADAVECCHIA, 2012, digit photo

I/O_WORK #05_ MINIMAL BIOGRAPHY _ GABRIELE RUCCI, 2012, digit photo

I/O_WORK #05_ MINIMAL BIOGRAPHY _ FRANCESCA CHIMENTI, 2012, digit photo

I/O_WORK #05_ MINIMAL BIOGRAPHY _ CONCETTA FORESTIERI, 2012, digit photo

OPERA #02 KALOS > AGHATOS

OPERA #02 KALOS > AGHATOS, 2011, videoinstallazione monocanale retroproiettata in loop video HD color, 6’30” operatore: beatriz franco, césar meneghetti ha collaborato: eleonora carbone

WORK #02 KALOS > AGHATOS

OPERA #02 KALOS > AGHATOS, 2011, mono channel video installation HD video color, 6’30” cameraman: beatriz franco, césar meneghetti in collaboration with: eleonora carbone

I\O_ WORK # 02 _KALOS > AGHATOS, 2011, video installation, MLAC, rome

I\O_ WORK # 02 _KALOS > AGHATOS, 2013, montage, digit photo

kalòs kagathòs, literally beautiful/good>valiant, is a Greek concept Plato developed to indicate the ideal of human perfection: the combination in a single individual of beauty and ethical/moral values. The video shows a party, a night feast, a gig, a balada, it describes one of those late dinners so common in the drinking nights out in Milan, Rome, Tokyo, Berlin, London, New York, São Paulo. They attract only a standard and globalised aesthetic and social category in the rich and urbanised mega-cities that extends its influence on other cities dictating fashions and fashionable drugs. All is based on the myth of the outer beauty and wealth/power of the people involved. KALOS > AGHATOS instead, is the exact opposite: a group of people with disabilities join the artist in a social soirée and dance. In terms of the artistic journey with this group, I state the right not to stop at the beauty the five sense can perceive, but rather the need to cultivate the notion of beauty in itself that is typical of all ideas and can be grasped with one’s mind rather than one’s senses. Goodness goes well beyond the beauty of ideas. In the installation, the video of the group having fun on its own terms is shown inside the main hall, at the entrance of the Museo Laboratorio di Arte Contemporanea (MLAC). The glass doors are closed, there is music playing, but when visitors seek to enter, they realise that the door is locked. Pseudo-spectators, museum users, pseudonormal people are put out of touch by this work.

#88

kalòs > agathòs, letteralmente bello/buono > valoroso, è un concetto greco elaborato da Platone, con il quale veniva indicato l’ideale di perfezione umana: l’unità nella stessa persona di bellezza e valore etico-morale. Il video rappresenta un party, una notte di festa, una gig, una balada, una rappresentazione di una cena notturna molto comune nelle notti della Milano da bere, Roma, Tokyo, Berlino, Londra, New York, San Paolo, che coinvolge solamente una sfera estetica e sociale standardizzata e globalizzata delle opulenti metropoli e che estende la propria influenza sulle altre città dettando mode, droghe da usare. È basata sul mito della bellezza esterna e ricchezza/potere delle persone coinvolte. In KALOS > AGHATHOS, l’esatto contrario: un gruppo di persone con disabilità insieme all’artista si immettono in una serata mondana e ballano. Come percorso artistico insieme al gruppo affermo il diritto a non fermarsi alla bellezza riconoscibile con i cinque sensi, ma a tendere all’idea di una bellezza in sé, propria di tutte le idee e che può essere colta solo con la mente, non con i sensi. Il Bene è una realtà al di sopra della bellezza. Nell’installazione, il video del gruppo che si diverte nella propria realtà viene proiettato all’interno della sala principale del Museo Laboratorio di Arte Contemporanea (MLAC). La porta vetrata è chiusa, si sente una musica, ma quando il visitatore cerca di entrare, si accorge che essa è chiusa a chiave.

Lo pseudo spettatore, il fruitore di musei, lo pseudo-normale, è posto fuori contatto dall’opera.

#89

OPERA #03 EX-SISTENTIA

I/O_OPERA #03 EX-SISTENTIA, 2011-2013, videoinstallazione a 30 canali / 30 mini-monitor Video HD, color, 3’30” testi di gabriele tagliaferro montaggio: alberto rigno, césar meneghetti produzione-allestimento: luigi d’oro allestimento tecnico: riccardo d’uva

WORK #03 EX-SISTENTIA

I/O_WORK #03 EX-SISTENTIA, 2011-2013, 30 channels video installation / 30 mini-monitor HD video, color, 3’30” text: gabriele tagliaferro editing: alberto rigno, césar meneghetti production-staging: luigi d’oro tecnical staging: riccardo d’uva

I/O_WORK #03 EX-SISTENTIA, 2011-2013, still from video HD, color, 3’30”

Ex-sistentia portrays the intelligence of Gabriele Tagliaferro (a person with a severe form of autism) and consequently the fact that he is aware of the distance that exists between his body and his plans for action or communication. Through Ex-sistentia, the artist César Meneghetti shows viewers how Gabriele perceives the space around him and how his thought processes develop. 30 small monitors show images of Gabriele as he slowly swivels while being filmed in the video booth. Every singles image ends with fragments of the words Gabriele keys into a computer. Each monitor shows a different movement and the simultaneous sound of words and tunes recorded from his voice leads us back to Gabriele’s message that “everything is words”.

#94

EX-SISTENTIA visualizza l’intelligenza di Gabriele Tagliaferro persona affetta da una grave forma di autismo e quindi la sua consapevolezza di vivere una distanza tra il suo corpo e il suo progetto di azione o di comunicazione. L’artista César Meneghetti, con la forma di Ex-sistentia, svela al pubblico dell’arte come Gabriele percepisce lo spazio circostante, come vive il suo pensiero. Trenta piccoli monitor restituiscono l’immagine di Gabriele rotante lentamente, ripreso in video cabina. Frammenti di parole digitate da Gabriele al computer chiudono ogni singola sua apparizione. In ogni monitor il movimento è diverso e il suono simultaneo di parole e motivi registrati dalla sua voce ci riconducono al messaggio di Gabriele “ tutto è parola”.

#95

I/O_WORK #03 EX-SISTENTIA, 2011-2013, video installation expographic studies

I/O_WORK #03 EX-SISTENTIA, 2011-2013, video installation expographic project

I/O_WORK #03 EX-SISTENTIA, 2011-2013 (montage), still from HD video, color, 3’30”

16. OF MY PAST IN ROME, I HAVE LOST THE THREAD 16. EE DELARE MIONOW PASSATO A ROMA FILO HO SMARRITO 17.

APPROACHING A TREMENDOUS FREEDOM 17. WORDS STIAMO HAVE FORTENOA LIMITS TREMENDA LIBERTÀ NOI AVVICINANDOCI 18.

ANYMORE 18. LANGUAGE PAROLE PIÙDEFICIT LIMITI MAKES NON HANNO 19.

PEOPLE PERPLEXED 19. APPROPRIATED DEFICITARIO LINGUAGGIO PERPLESSI RENDE 20.

EXPRESSIONS REQUIRES HOURS OF WORK 20. OUR OPPORTUNE ESPRESSIONI ORE DI LAVORO RICHIEDONO 21.

PREDECESSORS AND US / WE WRITE THE PATH OF HISTORY 21. IT I NOSTRI PREDECESSORI E NOIIS/ SCRIVIAMO VIA DELLATHE STORIA 22.

IS ROUGH MEDIUM OF WHO ROUGH / TOLA EXPERIMENT COURSE 22. ROUGH È IL ROZZO CHIISROZZO È / PER ESPERIMENTARE LA ROTTA 23.

THE MEZZO SILENT DI MAN 23. AN ROZZO È UOMO ZITTO 24.

EFFORT OF TREMENDOUS LABOUR I DID/ TO ROUGHLY REALIZE AN OUVRE 24. ORIGINAL IO UN LAVORO TREMENDA FECI / PER ROZZAMENTE 25.

WAS DI THE PROPOSALFATICA OF THE CLUMSIES/ROUGHS / ITREALIZZARE WAS OPENLYUN’OPERA WELCOMED 25. ALL FU ORIGINALE CHE QUELLA PROPOSTA DI ROZZI / FU APERTAMENTE ACCOLTA DA TUTTI BY 26. THAT’S ORA BASTA 26.

ENOUGH 27. THE L’IMMAGINE TRASFOTOGRAFICA 27.

IMAGE ISÈ TRANSPHOTOGRAPHIC 28. THE LA ROTTA È QUELLA DELLA SPERANZA 28.

COURSE IS SET ON HOPE 29. ROUGH ROZZO PERCHÉ UMILIATO DALLA SOCIETÀ 29.

BECAUSETROPPO IS TOO MUCH HUMILIATED

BY SOCIETY 30. EMPTY VUOTO (SI SUBITO E POI SEDIA 30.

(HEALZA STANDS RIGHT AWAY ANDVUOTA THE EMPTY CHAIR)

Gabriele Tagliaferro’s answers to an interview, expressed through Written Outputs Communication Enhancement (W.O.C.E.)

1. MANY RESIDUES I TRANSPHOTOGRAPH IN THE MIND 1. RECOMPOSED TANTI RESIDUIWITH CON LA MENTE TRASFOTOGRAFO 2.

REITERATED SELF-PERCEPTIONS 2. IRICOMPOSTA CONI THINK AUTOPERCEZIONI REITERATE 3.

DO NOT PAINT, 3. ALL NONISDIPINGO 4.

WORD PENSO 4. LA TUTTO È PAROLA 5.

TRAVIATA 5. EMPTY LA TRAVIATA 6.

(HE STANDS UP) 6. VUOTOABLE (SI ALZA) 7. BEING TO THINK I CAN SPEAK / IS AN EXQUISITE CIVILIZATION TO PARTICIPATE 7. RIUSCIRE PENSARE DIDO POTERE PARLARE / È SQUISITA PARTECIPARE 8. BUT WORDA NOWADAYS NO ANCIENT PEOPLE FINDS / CIVILTÀ WHO KNOW HOW TO LISTEN 8. MEASURING MA LA PAROLA ORAMAI NON GENTE ANTICA TROVA TIMES / CHE SAPPIA ASCOLTARE 9.

DUPLICATED MEMORIES AT DIFFERENT 9. THE MISURANDO 10.

COURSE,MEMORIE OBJECTS’DUPLICATE MOVEMENTA TEMPI DIVERSI 10. RESIDUE ROTTA SPOSTAMENTI OGGETTI 11.

OF OBSERVED PIECES 11. IN RESIDUI DI PEZZI OSSERVATI 12.

MY MIND I’VE ALWAYS BEEN PAINTING 12. INELLA MENTE DIPINGO DA SEMPRE 13.

DO NOT DO WHAT I WOULD/ BUT I GO AROUND IN CIRCLES 13. KNOWING NON FACCIO QUELLO CHE / MATHING GIRO A VUOTO 14.

MEMORIES IS AVORREI DIFFICULT 14. QUELLO DI SAPERE RICORDI UNA COSA DIFFICILE 15.

I WILL GIVE A COURSE OF EXPLANATION NOW / THE AUTISTIC WAY OF CATALOGUING 15. FARÒ ADESSO CORSO DI SPIEGAZIONE / DI AUTISTICO MODO DI CATALOGARE

OPERA #04 ASSAI MI DUOLE ANCORA

I/O_OPERA #04 ASSAI MI DUOLE ANCORA, 2011- 2013, installazione monocanale per video e sedia video HD, color, 6’55” testi di s.s. montaggio: alberto rigno, césar meneghetti produzione-allestimento: luigi d’oro allestimento tecnico: riccardo d’uva

WORK #04 IT STILL HURTS TOO MUCH

I/O_ I/O_WORK #04 IT STILL HURTS TOO MUCH, 2011- 2013, mono channel installation for video and chair, HD video, color, 6’55” text: s.s. editing: alberto rigno, césar meneghetti production-staging: luigi d’oro tecnical staging: riccardo d’uva

I/O_WORK #04 IT STILL HURTS TOO MUCH, 2011-2013, 2013 expographic studies

I/O_WORK #04 IT STILL HURTS TOO MUCH, 2011-2013, 2013 expographic studies

A chair (the chair is a symbol of presence, of being and being present amongst a constellation of people) as opposed to a vertical monitor placed in a corridor, almost in seclusion. Slowly, from the light’s blinding whiteness, an image (a body, a depiction) emerges from the flow of images. At times, there are souls that are like the monitor in the corridor, secluded by bodies that do not submit to thought. All I can say is this: OPERA #04 stems from a vision I had, maybe a hallucination, in which I saw a person, remote, staring at me (like 0\0). Then, while we were shooting, this person was there, motionless, staring at me exactly as she did in my dream. Immersed in whiteness. In light. As if she wished to make some serious, strong, deep statement but was paralyzed by something. By his limitations, of words? It all became clear to me when I read that wonderful sentence she had written, published in the book that guided me like a script (SLAZAACC). The sentence was “and still it hurts, deeply”. This unpretentious, poetic sentence is universal. That is when this person established an empathic connection with me, with you and with everyone, as we are all connected also by the pain that lives within us.

#108

Una sedia (la sedia simbolo della presenza, dello stare e dell’essere presente nella costellazione di persone) contrapposta ad un monitor verticale, stretto in un corridoio come in una clausura. Nel flusso di immagini appare lentamente dal bianco accecante della luce un sembiante (un corpo, una raffigurazione). A volte certe anime sono come il monitor nel corridoio, nella clausura di un corpo che non accompagna il pensiero.

Posso dire solo questo: OPERA#04 è nata da una mia visione o delirio di una figura censurata che mi guardava fisso (come 0\0). Poi, nei giorni delle riprese questa persona (come 0\0) rimaneva lì immobile e mi guardava fisso proprio come nel sogno. Immersa nel bianco. Nella luce. Come se volesse dire qualcosa di grave, di forte, di profondo, ma era paralizzata da qualcosa. Dal limite, della parola? Poi ho capito quando ho letto che aveva scritto quella frase bellissima, pubblicata nel libro che mi ha guidato come una sceneggiatura (SLAZAACC). La frase era “e assai mi duole ancora”. Questa frase semplice, poetica, è universale. In quel momento lei entrava in empatia con me, con te e con tutti, uniti anche da un dolore che ci segue.

#109

I/O_WORK #04 IT STILL HURTS TOO MUCH, 2011, digit photo and still from video, installation MLAC, rome

I/O_WORK #04 IT STILL HURTS TOO MUCH, 2011, digit photo and still from video, installation MLAC, rome

OPERA #09 CODICI BINARI

I/O_OPERA #09 CODICI BINARI, 2012-2013, serigrafia su carta, cm 841x1189

WORK #09 BINARY CODES

I/O_WORK #09 BINARY CODES, 2012-2013, serigraphy on paper, cm 841x1189

I\O

O/I

Binary code: enter to understand. The basic elements in IT language have been used by CĂŠsar Meneghetti as a metaphor of messages and voices that need to be de-codified in order to become intelligible. A series of bits cannot be translated into words unless it is de-codified: the silence of some of the disabled persons in the Santâ&#x20AC;&#x2122;Egidio Art Ateliers, a few words repeated insistently or, at times, just a shout, are not without meaning but we need to enter to discover how their thinking processes come alive. Thoughts that do exist: we can contradict the prejudice of non-thought. This is what the artist CĂŠsar Meneghetti can reveal.

#116

Codice binario: entrare per capire. Le basi del linguaggio informatico sono state utilizzate da César Meneghetti quale metafora di messaggi e voci che hanno bisogno di essere de-codificate per essere intellegibili. Una serie di bit non possono tradursi in parola se non decodificati: il silenzio di alcune delle persone disabili dei Laboratori d’arte di Sant’Egidio, l’emergere di poche parole ripetute con insistenza o, a volte, solo di un grido, non sono senza senso, ma bisogna entrare per scoprire come vive il loro pensiero. Pensiero che esiste: possiamo contraddire il pregiudizio del non pensiero. È ciò che l’artista César Meneghetti può svelare.

#117

OIIIOOII OIIOIIII OIIOIIIO OIIOIIII OO OIIOOIOO OIIOOOOI OOIOOOOO OIIO OIIOOIOI OIIOIIIO OIIIOIOO OIIOIIII OO OOIOOOOO OIIOIIOI OIIOIOOI OOIO OIIOIIII OIIOIIOO OIIIOIOO OIIOOOOI

OIOOOOO OIIIOOII OIIOIIII OIIIOOIO OIIOI OIIOOOOI OOIOOOOO OIIIOOII OIOOOOO OIIOOOII OIIOIOOO OIIOIOOI OOOOO OIIOOOOI OIIIOOII OIIOOOII SONOSORDAMASENTOCHIMIASCOLTA

IOIOOIIIOOIOOIIOOOOOIIOOIIOIIO OOIOOIIIIIOOOIOOIOOIOOIIOIOIIO IOIIOOIOIOOIIIOOIOOIIOOOOOIIO IIOOIOOIIOOIIIOIOOIOOISIAMO

OOIIIIIOOIIOIIOOIIIIIOOIIOOIOIOI OIOOOIOIIOIOOIOIOIOOIIIOOIOOI OOIIOIIOOIIIIIOIOIOIIOOIIIIIOOIIO MOLTO DIVERSI SIAMO UOMINI

IOIOIOIIOOIIIOIOOIOOIIOOIIIIIO IOOOIOOIOOIIOIOOIOIOIOOIOIO OOOOIIOOIIIOIO IOIOOIOOOIOI

OIOOIIIOOIIIIIOOIIOOIOOIIIIIIOO OIOOIIOOIIOOIOOOIOIIOIOIIOIO I U N I O S O L O È I R R I L E VA N T E

SONO SORDA SENTO CHI MI MICAELA

MA ASCOLTA VINCI

U N I O S O LO È IRRILEVANTE H I R S E YO TUCCIMEI

S IAMO MOLTO SIAMO MIRALEM

DIVERSI UOMINI PAVANI

OPERA #06 LOVISTORI

WORK #06 LOVISTORI

I/O_WORK #06 LOVISTORI- PAT and VINZ, 2010, digit photo, cm 300x150

The photograph tells the story of Patrizia Nasini’s different life and new life with Vincenzo Camelia. Their old life, described by their voices, is no more and is not shown.

A hallway. A kitchen. A bedroom. There is a large photograph towering over all others.

She is wearing white, he a dark suit. An average, happy, ordinary wedding couple.

But Patrizia was neither “normal” nor happy before then. Behind the effigy, beyond the picture, there is a story no image can tell.

#130

La fotografia racconta un’altra vita di Patrizia Nasini e un’altra storia con Vincenzo Camelia.

La vecchia vita, raccontata nelle loro voci non c’è più e non appare.

Un ingresso. Una cucina. Una camera da letto. Una foto grande sovrasta le altre. Lei vestita di bianco. Lui col vestito scuro. Una piccola, felice, normale coppia di sposi.

Patrizia non era né “normale” né felice prima di ora. Dietro l’effigie, al di là della fotografia, c’è una storia che nessuna immagine è adeguata a raccontare, se non fuori di sé.

#131

I/O_WORK #06 LOVISTORI, 2010-2013, installation expographic project

I/O_WORK #06 LOVISTORI, 2010-2013, installation expographic project (maquette)

IO È UN ALT UN AUTRE OTHER YO EU É UM O IST E I N A VERIFI

TRO JE EST E I IS AN O ES OTRO OUTRO ICH A ND ER E R CA#02

REALITY TRUTH SELF PORTRAIT

REALTÀ VERITÀ AUTORI TRATTO

ANNIELLO BOSCO I O O O O O I I O O I I I O I O O I I I O I O O I O O I I O O O IOIIOOIIOO I O O I I O O IOOIIIIIOO O O I O I O O IIIIIOIOOII I O O O O I I I

I I O O I O O I I I I I O I I O I O I I I O I I O O I O I O O I I O I I I I I O I O O I I O I I O I I O I O

DANIELE DI SILVIO O O O O I I I O O I I I O O I O I O O I O I I I O O O I I I I O O I I O I I O O I I O O I I I O I I I I

IIOIIOIIIOOOO OIIOIOOIIIIIOIO

MAURIZIO VALENTINI IIIIOIOIIIIOOI OIIOIOOIIIOIIII

IO È UN ALT UN AUTRE OTHER YO EU É UM O IST E I N A VERIFI

TRO JE EST E I IS AN O ES OTRO OUTRO ICH A ND ER E R CA#03

On October 14th 2011, within the programme of Sessions of the 54th Venice Biennale, the MLAC Research Centre of the Rome La Sapienza University and the Sant’Egidio Community held, at ASAC – the Auditorium of the Biennale’s Historical Archives of Contemporary Arts – a conversation on Art and Diversity in Progress_I/O_IO È UN ALTRO by César Meneghetti., with presentations by César Meneghetti: “Work in Progress of the project I/O_ IO È UN ALTRO Interactions and feedback”, Simonetta Lux: “Otherness involves art”, Alessandro Zuccari: “Don’t say raka to your brother”, Alberta Basaglia: “The impossible is only improbable: from Marco Cavalla’s experience”, Marta Fattori: “The formation of SELF and art”, Beppe Sebaste: “Anyone who liberates anyone who is a prisoners is a master”, Elisabetta Cristallini: “The Museum Laboratory of the Mind: the former Santa Maria della Pietà psychiatric hospital in Rome”, Cristina Cannelli: “Changing life through art”. The conference was attended by the people with disabilities involved in the project as well as approximately 200 students from the Universities La Sapienza in Rome, Cà Foscari in Venice, Università della Tuscia in Viterbo and the Universities of Padua and Udine.

#170

Il 14 Ottobre 2011, all’interno del programma Biennale Sessions della 54° Biennale di Venezia, il Centro di Ricerca MLAC della Sapienza-Università di Roma e la Comunità di Sant’Egidio hanno organizzato, presso l’ASAC – Auditorio dell’Archivio Storico di Arte Contemporanea della Biennale ai Giardini – un colloquio su Arte e Alterità in Progress_I/O_IO È UN ALTRO di César Meneghetti. Relazioni di César Meneghetti: “Work in Progress del progetto I/O_ IO È UN ALTRO Interazioni e feedback”; Simonetta Lux: “L’alterità riguarda l’arte”; Alessandro Zuccari: “Non dire raka al tuo fratello”; Alberta Basaglia: “Impossibile è solo improbabile: dall’esperienza di Marco Cavallo”; Marta Fattori: “La formazione dell’IO e l’arte”; Beppe Sebaste: “I maestri sono coloro che liberano chi è prigioniero”; Elisabetta Cristallini: “Il Museo Laboratorio della Mente: exospedale psichiatrico di Santa Maria della Pietà a Roma”; Cristina Cannelli: “Cambiare la vita con l’arte”. Sono intervenute le persone con disabilità coinvolte nel progetto e circa 200 studenti delle università Sapienza di Roma, Cà Foscari di Venezia, della Tuscia di Viterbo e delle Università di Padova e di Udine.

#171

MIKE WATSON THE ABILITY TO EXPRESS ONE’S SELF ‘I is an other’ is Brazilian-Italian artist César Meneghetti’s response to the difficulties always presented to the artist who seeks to work with the wider community. Since March 2010 Meneghetti has worked with the Community of Santo Egidio in Rome, as part of an ongoing programme in which artists work with physically and mentally disabled people. Aside from the enormous benefits one can obviously imagine coming out of such interactions, there are of course a number of questions raised regarding the appropriateness of art projects carried out with and amongst disadvantaged people, whether they be disabled, homeless, mentally ill, prisoners, immigrants, or from any other of minority population you could care to imagine. The problem is it can all too easily appear that the artist - in general - exploits the community they work with, making of it a subject for their own gain.

This perception is perhaps the inevitable outcome of a democratizing process that has its roots in the work of Marcel Duchamp (1887-1968) and Joseph Beuys (1921-1986), who argued respectively that anything can potentially be art and that ‘we are all artists’.

One outcome of this is naturally that the tools of the artist, which enable self-exploration and empowerment, are made available to all. However, the problem remains one over who is designating and channeling the artistic experience. The problem with Beuys’s proclamation that ‘we are all artists’ was Beuys’s seeming need to always be the particular artist making that same proclamation: Whereas if we were truly all artists anyone would be able to declare this truth. Two problems arise here, firstly many people simply do not want or are not able – due to lack of education – to be involved in artistic discourse. Secondly, if we humans are indeed all artists, there would be no art to speak of, or at least, being an artist would be no more novel than being a human, and the statement ‘we are all artists’ would therefore become banal. The solution to these problems arguably resides in a dis#172

MIKE WATSON L’ABILITÀ DI ESPRIMERE SE STESSI ‘Io è un altro’ è la risposta dell’italo-brasiliano César Meneghetti alle difficoltà con cui si confronta un artista che intende lavorare con la comunità intesa in senso ampio. Dal marzo 2010, Meneghetti ha operato con i laboratori d’arte della Comunità di Sant’Egidio a Roma, nel contesto di un progetto in progress all’interno del quale alcuni artisti hanno intrapreso una collaborazione con disabili fisici e mentali. Al di là del vantaggio che può nascere da un’interazione di questo tipo, rimangono tuttavia aperte una serie di questioni riferibili all’attribuzione di opere d’arte realizzate con o includendo persone socialmente “svantaggiate”, siano esse disabili fisici, mentali, senza fissa dimora, immigrati, o appartenenti a qualsiasi altra “minoranza”. Si potrebbe con facilità immaginare che l’artista in generale esplori la comunità con la quale lavora, trasformandola in uno strumento a suo profitto.

Questa prospettiva è talvolta il risultato inevitabile di un processo di democratizzazione che ha le sue origini nell’opera di Marcel Duchamp (1887-1968) e Joseph Beyus (19211986), i quali sostennero che tutto puo’ potenzialmente essere arte e che ‘tutti siamo artisti’. Questo presuppone naturalmente che gli strumenti degli artisti che consentono l’auto-esplorazione e la legittimazione siano a disposizione di tutti. Rimane comunque aperto il problema su chi è che progetta e dirige l’azione artistica. L’asserzione di Beyus, ‘tutti siamo artisti’, pone un problema poiché è l’artista stesso che lo afferma.

Il problema è che se fossimo tutti realmente artisti, chiunque potrebbe essere in grado di dichiarare questa verità. Qui sorgono due problemi, il primo è che molta gente non vuole o non è in grado – per mancanza di strumenti culturali – di essere coinvolta nel discorso artistico. Il secondo è che se tutti gli esseri umani fossero realmente artisti, non esisterebbe arte da discutere; essere artista non vorrebbe dire altro che esistere #173

empowerment of the artist and a total democratization of the term ‘art’, to the extent that the term itself would be secondary to self-exploration. In this way artistic discourse whilst by necessity being initiated by the artist, would be open to interpretation by all, to such an extent that the privileged role of the artist as such would be effaced.

In Meneghetti’s work I/O_IO È UN ALTRO this is not the core of the project.

That process would involve inherent contradictions that cannot be easily overcome. For one, it would require a degree of knowledge of contemporary artistic discourse on the part of participants. For now there is no choice but to let the artist take control, so that this discourse can be transmitted. Yet the degree to which the artist subverts their control of artistic discourse and lets non-specialist participants lead can vary greatly. When dealing with marginalized communities, particularly where speech, physical movement and thought can be impaired (as with the disabled community) giving artistic control over to others becomes a complex issue, but an essential component in understanding how the artist may better deal with the wider community in general. Nevertheless, César Meneghetti does not want to be an “art professionist”. He wants to be an artist and as an artist he does not give up the artistic control. As many other artists, he works with and on common people who are not ready to grasp the matters of contemporary art, still, this is not the point as art is not the main subject of interest of the world and of the artist, but the world itself. In I/O_IO È UN ALTRO the heart of the problem is not art neither is the communication of the thought about art from people who “do not know”.

The heart of the problem is the communication and the act of thinking itself, a possibility and an ability which the common prejudice does not recognise to disabled persons as they have a different way to express themselves.It is in this sense that César Meneghetti says “I is an other”, for we are all radically different to the other that we perceive. We are all the “other”.

He says so also because of his way to place himself - at the same level - in the communication process. Thouths and sharing are there.

Central to the project ‘I is an other’ has been the filming of each individual participant, invited to say what they want, but also what they can. For a range of disabilities can impair speech, even for the apparently ‘able’, non-disabled population. Speech, writing, creative activity are all-vital forms of communication which make us human, and which arguably make us ‘artists’ .But it is ultimately how we all communicate differently which is of importance, how we are all, above everything, individuals within a shared space.

Throughout the video works (videocabina #3, kalos>aghatos, ex-sistentia, assai mi duole ancora, 2011, “Lovistory” e “Giovanni” 2012), the photograph series (2012) and the documentary film (notes on “I\O_I is an other”), which follow the creative process during ‘I is an other’ one sees individuals gain the confidence to communicate. This is not the documentation of the disability of a group of people by an able artist. It is the documentation of an ability: the ability to express one’s self. #174

quale essere umano e l’affermazione ‘siamo tutti artisti’ diventerebbe un assunto banale.

La soluzione di questi problemi risiede senza dubbio nella delegittimazione dell’artista e nella totale democratizzazione del termine “arte”, al punto che il termine stesso potrebbe essere passibile di auto-esplorazione. Ma così il discorso artistico, iniziato per necessità dall’artista sarebbe aperto all’interpretazione di tutti, al punto di cancellare il ruolo privilegiato dell’artista in quanto tale. Nell’opera di Meneghetti I/O_IO È UN ALTRO non è questo il cuore del problema. Quel processo comporterebbe in sé contraddizioni non facilmente superabili. Innanzitutto richiederebbe ai partecipanti un certo grado di conoscenza del discorso artistico contemporaneo. Per ora non c’è altra scelta se non lasciare che sia l’artista a prendere il controllo perché questo discorso possa essere trasmesso. E il grado con il quale l’artista sovverte il proprio controllo sull’azione artistica e permette ai partecipanti non specialisti di condurla può variare enormemente. Quando l’artista lavora con comunità marginali, e in particolare quando parola, movimenti fisici e pensiero possono essere compromessi (come nel caso di un gruppo di persone con disabilità), cedere il controllo artistico ad altri diventa un discorso complesso, ma risulta essere una prova essenziale di come l’artista possa confrontarsi meglio con la più larga e generale comunità. Ma César Meneghetti non cede il controllo artistico. Egli non vuole essere “professionista dell’arte”, ma artista . Lavora – come tanti altri artisti scelgono di fare- con/su persone che come tante altre certo non afferrano il discorso artistico contemporaneo: ma non è questo il punto, non è l’arte l’oggetto di interesse dell’artista, ma il mondo stesso, la persona. In I/O_ IO È UN ALTRO il cuore del problema non è l’arte né il comunicare il pensiero sull’arte, da parte di persone che “non sanno”. La questione posta in campo in I/O_ IO È UN ALTRO è il comunicare stesso e il pensare stesso: una possibilità e un’abilità negata dal pregiudizio corrente alle persone con disabilità, poiché sono diverse nella forma espressiva.

E’ in questo senso che César Meneghetti dice “Io è un altro”, perché siamo tutti radicalmente diversi dall’altro che percepiamo. Noi siamo tutti “l’altro”.

Centrale nel progetto ‘I/O-Io è un altro” è stata la ripresa filmata di ogni singolo partecipante chiamato a parlare come vuole e come può. Varie disabilità possono compromettere l’espressione verbale, anche per chi è apparentemente ‘capace’, per chi è ‘non disabile’. Parola, scrittura, attività creativa sono tutte forme vitali di comunicazione che ci fanno umani e che ci fanno, in maniera discutibile, “artisti”. E queste forme debbono essere continuamente imparate, provate e superate. E in fondo noi tutti comunichiamo in modi diversi e tutti rilevanti – e tutti noi siamo alla fine individui in uno spazio comune.

Attraverso le opere video (videocabina #3, kalos>aghatos, ex-sistentia, assai mi duole ancora, 2011, “Luvstory” e “Giovanni” 2012), le serie fotografiche (2012) ed il film documentario (Note su I/O, Io è un altro) incluse in ‘Io è un altro’ si vedono persone che acquisiscono coraggio nel comunicare. Non si tratta di una documentazione sulla disabilità di un gruppo di persone realizzata da un abile artista. E’ la documentazione di un’abilità misconosciuta : l’abilità di pensare e di esprimere il proprio Io.

#175

Antonio Arévalo People, the one and the otherS All of the works by Italo-Brazilian artist César Meneghetti (Sao Paolo, class of 1964) have developed around creating opportunities for an analysis of the relationship between contemporary man and the visual arts, across the countless contradictions of civilisation, using the icons of cultural, political and moral devotion.

His studies in the fields of audio-visuals and photography refer to important concepts in this particular sector, such as the truth and reality. The foundations of film grammar are merged with the metaphors of our imagination generating subversion in the order by which reality works.

Merging geographical areas of the North and the South, his method aims to do justice to ordinary people, the oppressed and the unaware, and it calls upon us to analyse our own political and social experience avoiding formalities and generating a shift in thought and language, either explicitly or implicitly.

His tactics involve a subversive use of the media, underlining modern control strategies and the new forms of nomadism within the contemporary world. Real images, superimpositions and rarefactions are taken to extremes where they are transformed into a pure flow, placing on a single axis both the visual angle and the object observed, impression and reality, remembrance and the present, the planet’s North and South, absolute simultaneity in space in the shape of time, a kind of mirror of globalisation.

His study on the perception of landscape is also important: he re-writes it, dissolving the notion of time/space.

He who observes may create, from Meneghetti’s works, a new reality to his own taste, a virtual and anthropogeograpichal reality, thus realising the artist’s effort to turn visual art into a medium for dialogue between different cultures. #176

Antonio Arévalo Le persone, le une e le altre Tutto il lavoro dell’artista italo-brasiliano César Meneghetti (San Paolo, classe 1964) si sviluppa intorno alla creazione di istanze di riflessione nel rapporto tra l’uomo contemporaneo e le arti visive, attraversando le infinite contraddizioni della civiltà, utilizzando le icone della devozione culturale, politica e morale.

La sua ricerca nel campo dell’audio-visivo e della fotografia chiama in causa concetti rilevanti per il settore, come la verità e la realtà. Le basi della grammatica cinematografica si mescolano con le metafore del nostro immaginario, provocando una sovversione dell’ordine nel funzionamento del reale.

In una fusione tra aree geografiche del Nord e del Sud il suo percorso cerca di rendere giustizia all’uomo comune, oppresso e inconsapevole, ci chiama a riflettere sul nostro vissuto politico e sociale con uno sguardo non favorevole ai formalismi, producendo spostamenti di pensiero e di linguaggio, esplicitamente o implicitamente.

Fa sua la tattica che ha l’uso sovversivo dei media, il sottolineare le moderne strategie di controllo e le nuove forme di nomadismo nella contemporaneità. Immagini reali, sovrapposizioni e rarefazioni sono portate alle estreme conseguenze fino a diventare puro flusso, ponendo in un unico asse l’angolo della visuale e l’oggetto osservato, suggestione e realtà, memoria e presente, nord e sud del pianeta, prefigurazione, simultaneità assoluta nello spazio di forma tempo, una sorta di specchio della globalizzazione.

Importante anche la sua indagine sulla percezione del paesaggio che riscrive annullando il concetto di tempo / spazio.

L’osservatore può creare attraverso il lavoro di Meneghetti una nuova realtà, a suo piacimento, una realtà virtuale e antropogeografica, realizzando l’intento dell’artista di fare dell’arte visiva il mezzo di dialogo tra le diverse culture. #177

All this led him to make contact one day, four years ago, with the Sant’Egidio Community’s Art Ateliers in Rome and with the disabled persons involved in it and he has succeeded in putting himself and his art on the line.

We can easily see the pleasure he takes in the poetry of images, the words of his interlocutors are viewed in a different light, far from any kind of prejudice, and his ease in manipulating the flows of thought and images and his efforts to find a new and penetrating way to describing it all are equally evident.

Because art has a fundamentally critical approach to the environmental conditions in which it is produced. Complex mechanisms are always at play and, operating within the realm of aesthetics, they are able to question its logic and its relationship with the social space, presenting unforeseeable solutions and interpretations.

In “I/O_IO È UN ALTRO” the artist shows that he feels a moral and spiritual obligation, because he rejects any kind of pretence and speaks frankly, because as Peter Handke had written “to describe things in a language that draws more attention to processes that are repeated daily and to which people have become indifferent, means to take possession once more of a world that is already half forgotten bringing it back to life using the senses as an instrument, and not only the senses of he who provides the description, but also of he who is willing, by reading, to follow the description”.

César Meneghetti cannot conceive a synthetized, unique work, the relativity of concepts, the plurality of interpretations, the constellation of works is handled as a work in progress that is on-going and probably will never be completed.

Atmospheres of perpetual disarray highlighting and marking the pages of novel we don’t want to forget, just as we underline a verse that we wish to preserve in our memory: “To see people, the ones and the others. Firstly, those who are on the face of the earth, in their variety of customs and attitudes: some white, some black, some in peace, others at war, some in tears, others in joy, some in health others in sickness, some who are born, others who die”. These thoughts and words by Ignacio De Loyola are perfectly fitting for the latest project César is presenting at the Biennale, “I/O_IO È UN ALTRO”, a project where the “others” have such a strong presence that, at times, they merge with the artist himself.

Antonio Arévalo Commissioner

#178

Tutto questo lo ha portato a confrontarsi un giorno di quattro anni fa a Roma con i Laboratori d’Arte della Comunità di Sant’ Egidio e con le persone disabili che lì operano, riuscendo a mettere in gioco se stesso e la sua arte.

Ci appare evidente il piacere per la poesia delle immagini, per la parola dei suoi interlocutori guardati con uno sguardo nuovo, lontano da ogni pregiudizio ed è altrettanto evidente l’ estrema facilità nel manipolare i flussi di pensiero e di immagini e il cercare un modo nuovo e sensibile di raccontare tutto ciò.

Perchè l’arte possiede un carattere fondamentalmente critico rispetto alle condizioni di produzione dell’ambiente in cui è stata portata a termine. In tutti i casi, si tratta di meccanismi complessi che, operando dentro il territorio dell’estetica, sono in grado di mettere in questione la sua logica e problematizzare la sua relazione con lo spazio sociale; opponendo soluzioni ed interpretazioni imprevedibili.

In “I/O_IO È UN ALTRO” l’artista ci dimostra che ha un obbligo morale e spirituale, perché rifiuta qualunque tipo di finzione e parla direttamente, perchè come già scriveva Peter Handke “la descrizione in un linguaggio che acuisce l’attenzione i processi che si ripetono quotidianamente e nei confronti dei quali si è diventati insensibili, significa riappropriarsi di un mondo che è già per metà dimenticato e farlo rivivere usando lo strumento dei sensi, e non solo dei sensi di colui che lo descrive, ma anche di colui che è pronto leggendo a seguire la descrizione”.

César Meneghetti non concepisce il lavoro sintetizzato, l’opera unica, la relatività dei concetti, la molteplicità d’interpretazione, la costellazione di opere è portata avanti in un working progress, che continua tuttora e che probabilmente mai finirà.

Atmosfere di perpetuo disordine che evidenziano e segnano le pagine di un romanzo che non vogliamo dimenticare, così come si sottolinea un verso che vogliamo conservare nella nostra memoria: “Vedere le persone, le une e le altre. In primo luogo, coloro che sono sulla faccia della terra, in tutte le loro varietà di costumi e di attitudini: alcuni bianchi; alcuni neri; chi in pace, chi in guerra; gli uni in lacrime, gli altri allegri; alcuni prestanti, altri malati; alcuni che nascono, altri che muoiono”. Questo testo-pensiero di Ignazio Di Loyola calza perfettamente con l’ultimo progetto che César ci fa vedere in Biennale, “I/O_IO È UN ALTRO” un progetto dove l’altro è talmente presente da, a volte, confondersi con l’artista stesso.

Antonio Arévalo Commissioner

#179

IO È UN ALT UN AUTRE OTHER YO EU É UM O IST E I N A VERIFI 180

TRO JE EST E I IS AN O ES OTRO OUTRO ICH A ND ER E R CA#04 181

OPERA #07 SETTE

I/O_OPERA #07 SETTE, 2012-13, video-oggetti a 7 canali, video HD, colore, 7’ ciascuno. direzione di movimento: cristina elias sonorità: yuko matsuyama produzione-allestimento: luigi d’oro allestimento tecnico: riccardo d’uva

WORK #07 SEVEN

I/O_WORK #07 SEVEN, 2012-13, 7 channel video-objetcs, HD video, color, 7’ each. movement direction: cristina elias soundscape: yuko matsuyama production-staging: luigi d’oro tecnical staging: riccardo d’uva

my physical isè that which quella che restituis to your eyes immagine o lâ&#x20AC;&#x2122;i or the illusio true repres

l lapresence mia presenza fisica hsce airestores tuoi occhi la mia sillusione mydellaimage mia vera on rappresentazione of my sentation.

I/O_ WORK #07 SEVEN, 2012-13, expographic studies

My physical presence gives your eyes …

Seven figures, 7 totems in black, glimpsed at.

At the centre, the artist: the only one who is deprived of his primary sense, sight.

The others draw with their gestures a sentiment.

Thus they present on the scene a presence that is un-dreamed of for a disabled person.

They stand before us and look at us.

An instant, a symbolic gesture …

A veiled expression is yet the expression of a person, in order to exist art needs to suggest some other thing or perhaps “other” person. This short sequence is revolutionary because, in it, art (a privileged form on which the formation of man, of the person, the citizen, of society is based) returns to the community, horizontally, beauty, truth and universality.

#188

La mia presenza fisica restituisce ai tuoi occhi…

Sette figure, 7 totem in nero, intravisti.

Al centro l’artista: l’unico che è privato del suo senso primario, la visione.

Gli altri disegnano, con i gesti, un sentimento.

Così restituiscono sulla scena una presenza inaudita alla persona disabile.

Sono di fronte a noi che ci guardano.

Un attimo, un gesto simbolico …

L’espressione velata è pur sempre espressione della persona. Per esistere l’arte ha bisogno di suggerire altro o forse “l’altro”. Una piccola sequenza rivoluzionaria perché in essa l’arte (una forma privilegiata da cui si sviluppa la formazione dell’uomo, della persona, del cittadino, della società) restituisce orizzontalmente alla collettività la bellezza, la verità e l’universalità.

#189

I/O_ WORK #07 SEVEN, 2012-13, expographic studies

I/O_WORK #07 SEVEN, 2013, HD expographic project for 7 channel video-objetcs

OPERA #08 PASSAGGI-PAESAGGI

I/O_OPERA #08 PASSAGGI-PAESAGGI, 2012-13, video-oggetto a 3 canali, video HD, colore, 6’

OPERA #08 PASSAGES-LANDSCAPES

I/O_WORK #08 PASSAGES-LANDSCAPES, 2012-13, 3 channels video object, HD video, color, 6’

Walking. A perpetual loss of balance.

3 monitors show real size images of people walking, vertically tense, left and right, with their eyes closed. A metaphor of existence on this earth: we are ephemeral, transitory.

Ignored or unaware.

Constant movement is the only way to avoid capture by the surrounding mediocrity.

Moving in space involves a constant loss of balance. So walking, passing, moving is a metaphor of our condition of life on earth. The lack of balance and certainties is the only certainty.

#198

Del camminare. Un eterno perdere equilibrio.

In 3 monitor scorrono immagini di persone a dimensione reale che camminano avanti e indietro, ad occhi chiusi. Una metafora dell’esistenza su questa terra: siamo effimeri, passaggi. Ignorati o ignari.

Stare in movimento è l’unico modo per non farci catturare dalla mediocrità circostante.

Il dislocamento nello spazio è un costante perdere l’equilibrio. Dunque camminare, passare, transitare è rappresentazione della è propria condizione di vita sulla terra.

L’assenza di equilibrio, di certezze è l’unica certezza.

#199

I/O_WORK #08 PASSAGES-LANDSCAPES, 2013, HD expografic projects and studies

I/O_WORK #08 PASSAGES-LANDSCAPES, 2013, HD expografic projects and studies

OPERA #10 IN_VISIBILITà

I/O_OPERA #10 IN_VISIBILITÀ, 2012-13, videoinstallazione a 2, 4 e 8 canali, video HD, colore 10’ direzione di movimento: cristina elias montaggio: alberto rigno, césar meneghetti sonorità: yuko matsuyama / matthew mountford produzione-allestimento: luigi d’oro allestimento tecnico: riccardo d’uva

WORK #10 IN_VISIBILITY

I/O_WORK #10 IN_VISIBILITY, 2012-13, 2, 4, 8 channels video installation, HD video, color 10’ movement direction: cristina elias editing: alberto rigno, césar meneghetti soundscape: matthew mountford production-staging: luigi d’oro tecnical staging: riccardo d’uva

I/O_WORK #10 IN_VISIBILITY, 2012-13, study for video installation

In a few short workshops at the Art Ateliers, working with the people involved César Meneghetti and Cristina Elias have developed a lexicon without words that only uses the body. They compared their own bodies with the disabled persons’ and based the construction of the body/movement alphabet on the principle of equivalence and diversity.

Going beyond the theories of Étienne Decroux, who believes all expressive movement can be broken into different parts and reproduced on the scene using this body-emotions alphabet, they have gone further than pure and simple reproduction: the movements of the two artists and of the people involved, acting on an equal footing in the same environment and within the same exchange, have created a performance with none of the usual uncertainty and beyond movement limitations. With this alphabet, everyone seems different from him/herself and the performance actions modulated by the senses put everyone on the indistinguishable edge of normality. In-visibility, by depriving them all of sight, has made them all equal in the lack of a sense. This zone of in-visibility paradoxically helps people see.

I/O_WORK #10 IN_VISIBILITY, 2013, HD expographic project for video installation

#208

César Meneghetti con Cristina Elias, attraverso alcuni brevi workshop nei Laboratori d’arte, hanno costruito insieme alle persone coinvolte, alcune disabili, un lessico fatto senza parole e con il solo strumento del corpo. Hanno confrontato il proprio corpo con il corpo delle persone con disabilità, e hanno fondato la costruzione dell’alfabeto di corpo/ movimento sul principio dell’equivalenza e dell’alterità.

Al di là delle teorie di Étienne Decroux, per il quale è possibile scomporre e riprodurre sulla scena qualsiasi movimento espressivo con la pratica corporeo-emotiva di quell’alfabeto, si è andati al di là della pura e semplice riproduzione: il movimento dei due artisti e delle persone coinvolte alla pari in uno stesso ambiente e in uno stesso scambio, ha istituito una apparizione al di fuori della solita incertezza e al di là della impossibilità stessa del movimento. Con questo alfabeto tutti appaiono altri da sé, e l’azione performativa modulata con i sensi colloca tutti sull’orlo indistinguibile della normalità. In-visibilità togliendo a tutti la visione, ha reso tutti uguali nella privazione di un senso. Questa zona di in-visibilità aiuta paradossalmente a vedere.

#209

OPERA # 10 IN_VISIBILITÀ / IN_VISIBILITY, 2012-13, VIDEO 2 CHANNEL, 5’ X 2, COLOR, HD. movement direction cristina elias editing alberto rigno, césar meneghetti soundscape matthew mountford arquiteto luigi d’oro

I/O_WORK #10 IN_VISIBILITY, 2013, HD expographic study for 3 channel video installation

CÉSARMENE CÉSAR MENEGHETTI (São Paulo, 1964) Comunicação Visual – FAAP, São Paulo (BR) Fine Ar ts, London Metropolitan University (UK) Centro Sperimentale di Cinematografia, Roma (IT) Has already exhibited his works in more than 40 countries, having par ticipated in several ar t biennials such as Venice (2005), Adriatic (2006), La Paz (2007), Brussels (2007), Sharjah (2011) and Cerveira (2011), in the international exhibition Tio Ilar, Atenas (2011 e 2012) and in individual and collective exhibitions in various museums such as MIS – Museum for Image and Sound, São Paulo (2010), Macro – Museum for Contemporary Ar t in Rome (1996, 2005 and 2011) e MLAC Museum Laboratory for Contemporary Ar t in Rome (2006, 2008 and 2011). He has been awarded several ar t prizes such as FUNARTE of Contemporary Ar t (Brasil, 2011), Prêmio Brasil Contemporary Ar t of the Biennial of Sao Paulo Foundation (2010), best video in the IV Washington Inter- American Biennial of Video Ar t (2009), of the Italian Cinema Critics Board (Nastro d’Argento 1996 and 2004) and Petrobrás Cultural (Brasil, 2002 and 2006). His film and video works have already been shown in different international festivals like Locarno (1998 and 2002), Sao Paulo (Videobrasil 2001, 2003 and 2007 and Mostra Internacional de São Paulo 2008), FIC Brasília (2005), Rio de Janeiro Film Festival (2010), Havana (2003) and Venice (Giornata degli Autori, 2012).

With K_lab interacting on yhe (mixed media, Niger, 2008), he star ted a new phase of his career, reallocating his experience in visual ar ts, cinema and mixed media to the area of relational ar t. For the last three years he has been developing the project I\O I IS AN OTHER (mixed media/relational ar t) with 200 members of the Comunidade di Sant’Egidio. Lives and works between Berlin, Rome and São Paulo.

Ha esposto i suoi lavori in più di 40 paesi, avendo par tecipato alla Biennale di Venezia (2005), Adriatica (2006), La Paz (2007), Bruxelles (2007), Sharjah (2011) e Cerveira (2011), nella mostra internazionale Tio Ilar, Atene (2011 e 2012) e a mostre individuali e collettive in vari musei: MIS - Museu da Imagem e do Som de São Paulo (2010), Macro - Museu de Ar te Contemporânea di Roma (1996, 2005 e 2011) e MLAC Museo Laboratorio de Ar te Contemporanea a Roma (2006, 2008 e 2011). Ha avuto diversi riconoscimenti: Premio FUNARTE de Ar te Contemporânea 2011, Prêmio Brasil Ar te Contemporânea da Fundação Bienal de São Paulo (2010), premio per il miglior video nella IV Biennale Inter-Americana di Video Ar te a Washington (2009), Nastro d’Argento 1996 e 2004 (SNCCI) e Premio Petrobrás Cultural, Brasile (2002 e 2006). I suoi lavori in film e video sono stati presentati in diversi festival

#220

internazionali: Locarno (1998 e 2002), São Paulo (Videobrasil 2001, 2003 e 2007 e Mostra Internacional de São Paulo 2008), FIC Brasília (2005) Festival di Rio de Janeiro (2010), Festival di Nuevo Cinema di Havana (2003) e Venezia 69 (Giornata degli Autori, 2012). Nel 2007, con K_lab (mixed media, Niger, 2008), ha iniziato una nuova fase della sua carriera, allargando la sua ricerca nelle ar ti visive, cinema e mixed media all’ar te relazionale. Negli ultimi tre anni ha lavorato al progetto I\O É UN ALTRO (mixed media/relational ar t) con 200 membri dei Laboratof the Comunidade di Sant’Egidio.

Vive e lavora tra Berlino, Roma e San Paolo. + info: HYPERLINK “http://www.cesarmeneghetti.net” \t “_blank” www.cesarmeneghetti.net |||||||||||||||||||||||exhibitions / esibizioni 2013_ 55th International Ar t Exhibition, la Biennale di Venezia – The Republic of Kenya Pavilion Special project, Venice, Italy BELOVED ONES (solo), Hit Gallery, Bratislava. Curator Lýdia Pribišová.

VIDEOAKT International Videoar t Biennial, Barcelona.

Curator Angie Bonino (Spain), Antonio Pezzuto (Italy), Miguel Petchkovsky (Brazil/Netherlands).

2012_ FLUX+DISPLACEMENT+TIME (solo) selection of ar tworks

by César Meneghetti. 48th Mostra Internazionale del Nuovo Cinema, Pesaro. Curator Antonio Pezzuto.

N-MINUTES, Shanghai. Curator Miguel Petchkovsky.

AT HEAVEN’S DOOR, CYBERFEST, San Petersburg, Russia.

Curator Vika Ilyushkina.

THIS_PLACEMENTS v.2 (solo), Estação Ciência, Cultura e Ar te, João Pessoa.

2011_ THIS_PLACEMENTS v.1 (solo), Galeria FUNARTE de Ar tes Visuais do Nordeste, Sala Nordeste, Recife.

THIS_ORIENT v.2 (solo), Galeria ACBEU, Salvador.

16° BIENAL DE CERVEIRA, Cerveira. Film program selected by Solange Farkas.

SHARJAH BIENNAL 10 PLOT FOR A BIENNIAL, Sharjah, Emirados Árabes. Curator Solange Farkas.

I\O_EU É UM OUTRO verifica 01 (solo), MLAC Museo Laboratorio di Ar te Contemporanea, Rome. Curators Simonetta Lux TIO ILAR, Athens. Curator Panayotis Malamis.

2010_ LTDN - LES TERRA’S DI NADIE v.2 (solo), 2 channel installation, MIS Museu da Imagem e do Som, São Paulo.

Curator Bruno di Marino and Daniela Bousso.

VIDEOGUERRILHA/TIMEFRAME, urban spaces intervention,

EGHETTICV São Paulo. Curator Miguel Petchkovsky.

(VENICE) REQUIEM - The Road to Contemporary Ar t, MACRO FUTURE and IILA - Instituto Italo-Latinoamericano. THIS_ORIENT v.1 (solo), ACF58 Gallery, Rome.

Curator Francesca Gallo.

2009_ K_LAB | REMIX (solo), Galeria 36A, Bellaria Doc Festival Special Event, Bellaria-Igea Marina.

VIDEOCABINE #1 & #2 (solo), Spazio per Nuove Visioni, Nuovo Cinema Aquila, Tekfestival, Rome.

IV INTER-AMERICAN BIENNIAL OF VIDEO ART – Washington DC. Curator Felix Angel.

2008_ K_LAB | INTERACTING ON THE REALITY INTERFACE (solo), Museo Laboratorio di Ar te Contemporanea, Rome.

In collaboration with Enrico Blasi, Sam Cole e Matthew Mountford. Curators Simonetta Lux and Domenico Scudero.

2007_ PLAY FORWARD, selection of ar t videos, 60th Locarno International Film Festival, Locarno. Curator Bruno di Marino.

SIART – INTERNATIONAL ART BIENNIAL, Heterotopia, La Paz, Bolivia. Curator Ramiro Garavito.

I BRAZILIAN ART BIENNIAL, Brussels.

MADE IN ITALY, Video d’autore – genio e sregolatezza.

Filmstudio. Curator Bruno Di Marino.

ART BUS - ARCO, Madrid. Curators Antonio Arévalo, Frédéric Maufras and Raúl Mar tínez.

2006_ GIVE ME TWO TIMES – Ar t videos and new research – MLAC Museo Laboratorio di Ar te Contemporanea, Rome.

Curator Giorgia Calò.

IV BIENNALE ADRIATICA DI ARTI NUOVE – San Benedetto del Tronto. Curators Luigi Maria Perotti, Antonio Arévalo.

DIVA - Digital & Vídeo Ar t Fair International Contemporary Ar t Fair, Paris.

2005_ 51. BIENNALE DI VENEZIA, Isola della poesia, Notte dei Poeti, Tramonto latinoamericano, Palazzo Franchetti, San Marco, Venice. Curators Antonio Arévalo and Achille Bonito Oliva.

MONTAGE 10, MACRO FUTURE, (solo installation) Museo di Ar te Contemporanea, Rome.

MONTAGE 1-9 (solo), El Aleph Video Gallery, Rome.

BACK UP FESTIVAL, DYNAMIC NETWORK OF INTERNATIONAL CREATORS, Bauhaus, Weimar, Salvador. Curator Miriam Visaczki.

TOKYO VIDEOART CENTER – LATIN AMERICAN & ITALIAN PROFILE. Curator Katsuyuki Hattori.

VIDEOZONE, I ISRAEL ELECTRONIC ART BIENNAL, Tel Aviv.

Curator Sergio Eldelztein.

TRANSMEDIALE 01 (DIY). Surviving in a digital world, Berlin. Curator Andreas Broeckmann.

MICROWAVE International Media Ar t Festival, Hong Kong.

Curator Elaine NG. 13° VIDEOBRASIL, São Paulo. Curator Solange Farkas.

MIXED ar tist’s video selection. Galeria Neon, Bologna.

Curators Daria Filardo, Gino Gianuzzi.

1989_1999_ I BIENNALE D’ARTE ELETTRONICA, Palazzo dele Esposizioni and S. Mar ta al Collegio Romano Church.

Curator Marco Maria Gazzano.

CALDO/FREDDO video ar t, Galleria Comunale d’Ar te Moderna e Contemporanea, Roma. Curators Silvana Bonfili and Alessandra Gianfranceschi.

PONTOS DE FUGA (solo), Cândido Por tinari Gallery, Roma, 1997.

L’ARTE A ROMA, I Edition Contemporary Ar ts Exhibition.

Curator Patrizia Lazoi.

ZONE(IN)VISIBILITÀ (solo), Rome. Curator Pino Giampà, 1996.

VISIBILITÀ ZERO, Authors’ video showcase, MACRO, Curator Valentina Valentini.

ELECTRONIC ART CAFE / ARTISTI IN PEDANA, Palazzo delle Esposizioni, Roma. Curator Achille Bonito Oliva and Umber to Scrocca.

O PENSAMENTO BRASILEIRO (solo), Cândido Por tinari Gallery, with Lee Swain. Curator Frederico de Moraes, 1995.

ELECTRONIE D’ARTE ED ALTRE SCRITTURE, Centro per l’ar te contemporanea Luigi Pecci, Prato. Curator Caterina D’Avinio.

NO LIMITE DO TEMPO (solo), Cândido Por tinari Gallery, Roma. Curator Alessandro Masi, 1994.

SKIES (solo), Fulhan Ar ts Center, London, 1989.

2000_2004_ MADE IN BRASIL, Three decades of Brazilian video.

Instituto Cultural Itaú. Curator Arlindo Machado.

ROMEVIDEO (solo), Recyclar t, Gare Le Chapelle, Brussels, in collaboration with Elisabetta Pandimiglio.

Curator Laurence Jennard.

14° VIDEOBRASIL, São Paulo. Curator Solange Farkas.

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CURATORI+ ANTONIO ARÉVALO Art Critic, project developers, consultants and independent art curator. His artistic and literary takes place between Rome and Santiago de Chile, ranging from art to theater to poetry. Arévalo stands out immediately for his creative personality and his artistic sensibility. In the ‘80s, known for his poetic work, the journalist writing, the theater projects. In the following decade became the protagonist of the Italian art scene as a curator of contemporary art, enhancing relations with the intellectuals and creating opportunities for exchange between Latin American and Italian artists. Commissioner of Chile to the 49th edition of the Biennale di Venezia (Juan Downey, Honorable Mention by the International Jury), the Biennale Adriatica Arti Nuove, San Benedetto del Tronto, Chile, the Pavilion at the 53 edition Biennale di Venezia “Making Words” (Iván Navarro), and Pavilion at the 54 edition Biennale di Venezia “Gran Sur” (Fernando Prats).

CRISTINA CANNELLI, art historian, works at the Culture Department of the City of Rome. For more than 20 years she has been coordinating the art laboratories of the Community of Sant’Egidio in Rome. Together with Simonetta Lux, Alessandro Zuccari and Antonella Antezza, she is one of the authors of the book “Con l’arte da disabile a persona. Mostrare, svelare, costruire, liberare pensiero, intelligenza, sentimento”,(2007), and of the volume “noi, l’Italia” / “us, Italy” (2011) curated by Simonetta Lux. The latter has been written for the exhibition at the Quirinale Palace held on behalf of the 150th anniversary of the Unification of Italy. The exhibition has shown a project of the artist Anton Roca and paintings of the artists of the art laboratories.

Since 2010 she coordinates Meneghetti’s project I/O_I IS AN OTHER. For the Community of Sant’Egidio she is responsible of the DREAM Program (Drug Resourches Enhancement against AIDS and Malnutrition) in Conakry, Republic of Guinea for the free healing of AIDS. At present, the Program is active in ten african contries.

MIKE WATSON is an art theorist and essayist. He has a PhD in Philosophical Aesthetics from Goldsmiths College and is curator in Residence at Nomas Foundation, Rome. He is currently writing “Joan of Art: Towards a Conceptual Militancy” for Zero Books. He collaborates with Frieze magazine, Art Review and Cura magazine.

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SIMONETTA LUX is an essayist, art critic, art historian and professor of contemporary art history at the University of Rome “La Sapienza”, founder and director of the MLAC - Museum Laboratory Of Contemporary Art of Rome since 1986, and later the International Cluster of Contemporary Art Museums and the Italian Society for Industrial Archaeology. She directs the collections “artisticaMENTE” and “Luxflux proto-type contemporary art”. Interpreter some of the greatest contemporary artists, she is interested in multidisciplinarity and trespassing between the arts. She has written since 1968 a vast amount of books, essays on theory and on the history of art, architecture and design including: “Arte ipercontemporanea. Un certo loro sguardo.

Ulteriori protocolli dell’arte contemporanea”(2007), “MLAC index (2012)” and many others. Currently she curates Meneghetti’s project I/O_I IS AN OTHER. ALESSANDRO ZUCCARI (Rome, 1954), Professor in History of Modern Art at La Sapienza University in Rome, is a member of the Accademia Nazionale dei Lincei and of the Art Commission of the Banca d’Italia and of the Steering Committee of the Fondazione Roma. His publications cover a span of interests ranging from the Fifteenth to the Eighteenth Century with a special attention to Caravaggio, as well as to the different artistic expressions of the Sixteenth Century and to the European Caravaggism. As chairman of the Comitato Nazionale per l’Angelico, he promoted, among other things, the Exhibition at the Musei Capitolini Beato Angelico. L’alba del Rinascimento (cat. curated by A. Zuccari, G. Morello, G. de Simone, Milan 2009).

With the Community of Sant’Egidio, he has been following the path of the Art Studios of the Community for disable people (see: “Abbasso il grigio!”, Catalogue of the Exhibition in Rome and in Strasbourg, Rome 2003; Con l’arte da disabile a persona, Mostrare, svelare, costruire, liberare pensiero, intelligenza, sentimento, curated by S. Lux. A. Antezza, C. Cannelli, A. Zuccari, Rome 2007) and in 2008, promoted the Experimental Art Studio and Museum in the outskirts of Rome, at Tor Bella Monaca. His works include: Arte e committenza nella Roma di Caravaggio, (Turin-Rome 1984); I pittori di Sisto V (Rome 1992); I caravaggeschi. Percorsi e protagonisti (2 vols. conceived and coordinated with C. Strinati, Milan 2010); Caravaggio controluce. Ideali e capolavori (Milan 2011).

+AUTORICV ANTONIO ARÉVALO Critico d’Arte, ideatori di progetti, consulente e curatore d’arte indipendente. La sua formazione artistica e letteraria si compie tra Roma e Santiago del Cile, e spazia dall’arte al teatro alla poesia. Arévalo si distingue immediatamente per le sua personalità creativa e la sua sensibilità artistica. Negli anni ‘80, noto per la sua attività poetiche, le colaborazioni giornalistiche, i suoi progetti teatrali. Nel decennio successivo divenne protagonista della scena artistica italiana come curatore d’arte contemporanea, intensificando i rapporti con gli intellettuali e creando opportunità di scambio tra America Latina e artisti italiani ed europei. Commissario del Cile alla 49 ° edizione della Biennale di Venezia (Juan Downey, menzione d’onore da parte della Giuria Internazionale), la Biennale Adriatica Arti Nuove, San Benedetto del Tronto, presso il Padiglione del Cile nella 53 edizione della Biennale d’Arte di Venezia “Making Words” (Iván Navarro), e presso il Padiglione del Cile nella 54 edizione della Biennale di Venezia “Gran Sur” (Fernando Prats).

CRISTINA CANNELLI, storica dell’arte, lavora presso il Dipartimento Cultura del Comune di Roma e da oltre venti anni coordina le attività dei Laboratori d’Arte della Comunità di Sant’Egidio a Roma. E’ coautrice del volume Con l’arte da disabile a persona. Mostrare, svelare, costruire, liberare pensiero, intelligenza, sentimento, con Simonetta Lux, Alessandro Zuccari e Antonella Antezza (2007) e del volume noi, l’Italia / us, Italy (2011) a cura di Simonetta Lux. Quest’ultimo è stato pubblicato in occasione della mostra al Palazzo del Quirinale realizzata in occasione del 150° anniversario dell’Unità d’Italia, i cui esiti sono frutto della collaborazione tra l’artista Anton Roca e i Laboratori d’Arte. Dal 2010 ha sostenuto con la sua competenza e accompagnato il progetto di César Meneghetti I/O_IO È UN ALTRO. E’ responsabile per la Comunità di Sant’Egidio del programma DREAM (Drug Resource Enhancement against AIDS and Malnutrition) nella Repubblica di Guinea Conakry, programma nato nel 2002 per la cura gratuita dell’AIDS in Africa, attivo in 10 paesi del continente.

Mike Watson è saggista e teorico. Ha conseguito il Dottorato di Ricerca in Estetica filosofica presso il Goldsmith College di Londra ed è curatore in Residence della Nomas Foundation di Roma. E’ autore di “Joan of Art: Towards a Conceptual Militancy” presso l’editore Zero Books (in corso di stampa). Collabora a Frieze Magazine, Art Review e alla rivista Cura.

Simonetta Lux (Roma, 30 giugno 1943) professore ordinario di Storia dell’arte contemporanea alla Sapienza Università di Roma (1992-2011), ha Coordi-

nato il Dottorato di Ricerca in Storia dell’Arte (20082010) e progettato e diretto il Master in Curatore di Arte Contemporanea (2005-2010). Ha progettato il Format “Museo Laboratorio di Arte Contemporanea” per l’unità di processo formativo, creativo e di ricerca scientifica, realizzato presso diverse Università, tra cui la Sapienza di Roma. Dirige la rivista “Luxflux- Prototype Arte Contemporanea” (www.luxflux.net) e numerose collane editoriali nel campo dell’arte contemporanea. Ha pubblicato saggi e volumi di critica e storia dell’arte contemporanea, dell’architettura e del design, in particolare sui rapporti tra arte e potere politico, e artisti internazionali (Umberto Boccioni, Mario Sironi, Alberto Burri, Gianni Colombo, Nedda Guidi, Mario Schifano, Pino Pascali, Eliseo Mattiacci, Luca Patella, Laura Palmieri, Cloti Ricciardi, Osvaldo Licini, Uemon Ikeda, Naoya Takahara, Sergio Lombardo, Luigi Boille, Judith Cowan, Sukran Moral, Theo Eshetu, Maurizio Bolognini, Alfredo Jaar, César Meneghetti, Tania Bruguera, René Francisco, Iljia Soskic, Jusuf Hadzifejzovic). Le sue più recenti pubblicazioni: ARTE IPERCONTEMPORANEA.Un certo loro sguardo (2006); Con l’arte. Da disabile a persona (2007); Noi… l’Italia/Us… Italy (2011), MLAC INDEX 2000-2012 (2012).

ALESSANDRO ZUCCARI (Roma 1954), ordinario di Storia dell’Arte moderna alla Sapienza Università di Roma, è socio dell’Accademia Nazionale dei Lincei e membro della Commissione opere d’arte della Banca d’Italia e del Comitato di indirizzo della Fondazione Roma.

La sua vasta produzione scientifica spazia dal Quattrocento al Settecento rivolgendo particolare attenzione al Caravaggio, alle diverse espressioni artistiche del Cinquecento e al caravaggismo europeo. Come presidente del Comitato Nazionale per l’Angelico ha promosso studi e manifestazioni sul pittore, tra cui la mostra ai Musei Capitolini Beato Angelico. L’alba del Rinascimento (cat. curato con G. Morello e G. de Simone, Skira, Milano 2009). Con la Comunità di Sant’Egidio segue da tempo il percorso delle persone disabili e dei Laboratori d’arte della Comunità (cfr. Abbasso il grigio!, mostra di Roma e Strasbourg, Roma 2003; Con l’arte da disabile a persona. Mostrare, svelare, costruire, liberare pensiero, intelligenza, sentimento, a cura di S. Lux, A. Antezza, C. Cannelli, A. Zuccari, Roma 2007) e nel 2008 ha ideato un Laboratorio Museo d’arte sperimentale nella periferia di Roma, a Tor Bella Monaca.

Tra i suoi libri: Arte e committenza nella Roma di Caravaggio (Torino-Roma 1984); I pittori di Sisto V (Roma 1992); I Caravaggeschi. Percorsi e protagonisti (2 voll. coordinati con C. Strinati, Milano 2010); Caravaggio controluce. Ideali e capolavori (Milano 2011). #223

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CÉSAR MENEGHETTI_I\O _ IO È UN ALTRO | JE EST UN AUTRE | EU É UM OUTRO | I IS AN OTHER | ICH IST EIN ANDERER | YO ES OTRO progetto del libro / book concept and project césar meneghetti coordinamento editoriale / editing lella antinozzi cristina cannelli simonetta lux collaborazione editoriale / editing collaboration lella antinozzi antonella antezza saggi / essays antonio arévalo simonetta lux mike watson alessandro zuccari testi/texts césar meneghetti con/with cristina cannelli cristina elias simonetta lux traduzioni/translations giovanna del balzo……….. fotografie / photos césar meneghetti grafica / graphic designer lisa camporesi

© Maretti editore © gli autori © César Meneghetti nessuna par te di questa pubblicazione può essere memorizzata, fotocopiata o comunque riprodotta senza le dovute autorizzazioni no par t of this publication may be reproduced or transmitted in any form or by any means electronic or mechanical or in any manner whatsoever without written permission by the publisher finito di stampare nel mese di maggio 2013 printing closed in May 2013 ISBN 978-88-89965-27-6

CREDITS

I\O _ IO È UN ALTRO Pubblicato in occasione della par tecipazione di César Meneghetti alla 55. ESPOSIZIONE INTERNAZIONALE D’ARTE 55th INTERNATIONAL ART EXHIBITION LA BIENNALE DI VENEZIA PADIGLIONE DELLA REPUBBLICA DEL KENYA The Kenya Republic Pavilion “reflective nature # a new primary enchanting sensitivity” “Special Project I/O _IO È UN ALTRO”

I\O _ IO È UN ALTRO | JE EST UN AUTRE | EU É UM OUTRO | I IS AN OTHER | ICH IST EIN ANDERER | YO ES OTRO CÉSAR MENEGHETTI SPECIAL PROJECT promosso da / promoted by comunità di sant’egidio laboratori d’ar te curatori/curator simonetta lux + alessandro zuccari commissario / commissioner antonio arévalo produzione-allestimento/ production-staging luigi d’oro allestimento tecnico /tecnical staging riccardo d’uva movement direction cristina elias video editing alber to rigno soundscapes: yuko matsuyama / matthew mountford documentario e produzione ivan giordano e davide lemma http://www.alterastudio.it/ioeunaltro

hanno collaborato i laboratori d’ar te della comunita’ di sant’egidio antonella antezza | cristina cannelli | maria carosio | simona rampa | filippo sbrana | vittorio scelzo | giorgia lanino | federica palazzolo | paolo del bove ed inoltre yael leibel | mark watson | beatriz franco | giorgia calò domenico scudero | enrico blasi | manfredi marchetti |sara abou el khair | veronica fadda | karim ali hanno par tecipato con l’ar tista nei laboratori d’ar te della comunità di sant’egidio aniello bosco | maurizio valentini | flavia massimi | mirko ghezzi |daniela parisini | giovanni fenu | francesca scagnoli | diego proietti | annamaria colapietro |annamaria cordone | adriana ciciliani | fabrizio todaro | rober to mizzon | anna canzittu | valeria canzittu | paola canzittu | franco tosi | miralem pavani | gabriele tagliaferro | hirseyo tuccimei | fabio lo surdo | cristina cannelli | sonia sospirato | micaela vinci | nives iannelli | anna scardullo | giorgia lanino | daniela boi |chiara ceriani |daniele di silvio | luca piermattei | anna di romano | valerio donfrancesco | ivan marciano|maria grazia galleoni | concetta forestieri | gabriele rucci | maria grazia loreti | marianna caprioletti | cristina caprioletti | elisabetta marino | nadia dell’ariccia |massimiliano tavella | mario la por ta | piero biancardi | marilu’ graziano | francesca romiti | federica costanzo | antonella ocera | maurizio bonuglia | claudio bianchi | alessandra russo | gianni oriente | rober to di

iullo |leonardo zannoli |sergio ruggeri | carlo papocchia | adriano liberatori | maurizio malara | gina feo | fabio quintanni | lorenzo coppari | luciano di carlo | marzia simonelli | gianpaolo pitzolu | giuliano maire-vigueur | paolo petese | francesca argenti | marzia piaggesi | patrizia franchini | tobia ferrandino | rita la monarca | giulio graziani | maurizio di salvo | angela massa | elena massa | gaetano lanza | barbara mari | lucia bonifaci | mauro galdelli | maria raffaella ber toli | alfredo sioli | fabrizio ciani | mauro policella | sonia ranchino | carlo galloni |rober to cafarotti | rita ulpiani | gabriella tagliarino | simona rampa | alessia de montis | raffaella papetti | maura loria | marzia bosco | moira roscioli | elisabetta petricelli | simone vitali | katia buccina’ | barbara piccinini | natalina de prosperi | cristian castellano | paola cecchini | lamber to cucchini | nicola ielpo | linda latini | claudio settepani | stefano amore | giuseppina lasciarrea | laura palmieri | maria crescenzi | donatella scanni | sara sebastiani | vincenzo camelia | patrizia nasini | giuseppina fabale | antonio spadavecchia | julio rosati | fabio ricciardi | silvia fiumano’ | patrizia berardi | marco ciucciarelli | francesco cesari | filomena pinelli | fosca tonini | francesca gessi | tamara silvi | teresa pezzella | stefania piccirilli | alessandro ricci | fabrizio prete | biagio passaro | gabriella scafetti | nadia muglia | valentina tecca | isabella gessi | maria manieri | barbara d’andrea | adriana camponelli | michel kouritzke | ar turo maggio | patrizia milanese | alessandro medros | tonino padula | rosa generoso | franca piu | sandra bonavolonta’ | massimiliano pantini | pino vomero | giorgina tumminello | bruna spano’ | marco bar toccetti | alvaro antonelli | luigi basso | fabia santoro | sara curcio | cristina grusio |elio meloni | francesca chimenti | anna montanucci | isabella messina | daniela sponticchia | noemi casoni | federico colonnelli | tonino adriani | claudio lanna | rina cananella | alessandro di ianni | donato canaris | bruna mastrofini | emanuele raffaelli | rossana ciarambino | stefania polidori | massimiliano prestandrea | romina parente | francesco galiano | rosaria di leo | daniela galletti | marco nardoni | assunta di rober to | mario arena | alessandro rezk| antonio sannina | | federica palazzolo | maria carosio | mariilena galassi | franco fusco | claudia drago | tonino colosimo | umber to concas | mirela pierjergii | katia galetti | giancarlo leopardi | emanuela fabi | alber to iumento | loredana ceccarelli | daniela bellavita | fabio cigoi | giovanni battista la marra | grazia moscato | laura car ta | narly bermejo cuadro | stefano miccinelli | rossella della mor te | aurelio bagaglini | rita nunzia ieva technical par tner / sponsor tecnico altera studio htc special thanks / si ringrazia ivan giordano davide lemma marco resa marco antonio nakata matthew mountford enrico blasi flavia abbud marco resa angelika wagner sylvia irrazabal funar te iila istituto italo-latino americano

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