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  • Some weeks ago, I was walking through the little streets looking for a location. Around me, there were scratched walls, rubbish and shreds of urban flora. Along the short prospective of what was a bastion, there is a street that starts from the Musical Institute Cherubini and goes up until the proximity of the Cathedral; just before arriving nearby of the back of the Apse, there is a little area for the storage of Sicilian Carts, close to what was a museum of this "art" (a garage-stock quickly used to this end). Among the bloody red walls of furious knights, and smoky-grey helmets, aside and disused, there was this sort of unpopular panel. Among the bloody red walls of furious knights, and smoky-grey helmets, aside and disused, there was this sort of unpopular panel. A little sign of feast lights (frame structures, adorned with coloured bulbs, that are usual hanged up along the streets like lintels, forming a sort of arcade for the passage of Saints during the processions), it is against a background of faded explosions. A dying constellation, of an undefined sign, consumed by the midday sun and the shady rains. This panel doesn't date back to any popular artistic tradition, it seems to resume various types, manifesting itself in the corner where it has been abandoned like a short and unlucky experiment. Close to this panel, there are some replicas of carts, wheels with twelve spokes, and lateral sides with paintings of battle scenes, knights against griffons and dragons placed in the background of arid hills. That panel in view of the Arab glimpse of the apse and surrounded by false medieval battles, it triumphed as it was something authentic and antique. No Dantesque stars, but black holes, dark matter, ancient elliptical galaxies, the first explosions, the rotation of the orbits in some skulls of Lovercraft.


    "La Profondità delle Cose Inutili"

    Qualche settimana fa battevo le stradine alla ricerca di una location. Mura sbrecciate, pattume e brandelli di flora urbana. Lungo una breve prospettiva di quel che doveva essere un bastione, c'è una strada che parte dall'Istituto Musicale Cherubini e che monta fino alla Cattedrale; poco prima di arrivare sul retro dell'Abside, si trova un piccolo deposito di carretti siciliani, accanto a quel che ne fu il museo (un garage-magazzino adibito brevemente allo scopo). Fra le paratie rosso sangue di cavalieri furenti, e cotte grigio fumo, di lato e dismesso, c'era questa sorta di pannello impopolare: Un accenno di luminarie (strutture scheletriche contornate di lampadine colorate che si appendono come architravi nelle strade, formando le gallerie percorse dai santi) sullo sfondo di deflagrazioni sbiadite. Una costellazione morente, di un qualche segno indefinito, consumata dal sole del mezzogiorno e scarnificata dalle piogge ombrose. Questo pannello non risale a nessuna tradizione artistica popolare, sembra riassumerne diverse, manifestandosi nell'angolo in cui è stato abbandonato come un esperimento breve quanto infelice. Accanto al pannello alcune repliche di carretti, ruote a dodici raggi, e sponde con scene di battaglie, cavalieri contro grifoni e draghi in uno sfondo di colline aride. Quel pannello a fronte dello scorcio arabo dell'Abside e circondato da false battaglie medievali, trionfava però come qualcosa di autentico e antico. Non le stelle dantesche, ma i buchi neri, materia oscura, antiche ellittiche, le prime deflagrazioni, la rotazione delle orbite in certi crani di Lovercraft.




    Tr. Alessandra Russo
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