“Lu Manone” 2, the idea for the installation on Piazza Duomo is from the Carla Fendi Foundation

Therefore, the authorship of the idea (in the sense of size) attributed to the artistic director of the Festival dei Due Mondi is excluded, Monique Veaute, which, on the other hand, limited itself to inserting the usual intervention of the Fendi Foundation into the festival program, which has used its own specific organization for years.

Festival, Monique’s “Lu manone” delivers the package! | Will there be a surprise?

It is worth reminding readers how this festival-operating dichotomy was born under a management agreement from Caio Melisso, put in black and white at the time of Mayor Daniele Benedetti, who transformed the distinctive Spoleto Theater into the Caio Melisso Theater “Spazio Carla Fendi “. ”, With the consequent right to use the theater space for the Foundation’s initiatives. All this in the light of a striking contribution to the operational restoration of many of the degraded elements of the theater: the curtain, the boxes, the foyer, etc.

How unnecessary columnists, but we are still of the opinion that the whole thing would have been much more interesting if it had really come from an action “Situationist” decided by Monique Veaute. It could have been one of the most popular topics in city talk. And for this we defend in all respects, chest out and throw rest, ours useless article of yesterday. For us, city and festival lovers, who often fall for the lot to stay to observe the actions of others, Daniele Puppi’s work will always remain “Lu Manone”. Poor identity consolation, which serves as a reminder that we are still in Spoleto and not in London or New York, where a distracted passer-by might not have even noticed the giant image. In Spoleto, on the other hand, the power of the location, there is talk of a huge hand for two days !!!

Update at 14:32 – Manone problem, revenge!

The question But it is not comes, after chapters 1 and 2, to the last, which we will define as “revenge.” With an elegant gesture that somehow also qualifies the way certain press offices workMaria Teresa Venturini Fendi integrates its press release, already published in full form in the morning, with a specific passage that wants to get out of the satirical aspect of our first “useless” article, focusing on the objective significance of the installation of Caio Melisso. A claim to merit that has its own raison d’être and is offered with respect to the poor useless columnist who apparently did not speak “With cleaved tongue”.

“In the intervention of FRAGENTO FATICA N. 26” with a three-dimensional effect by Daniele Puppi, who through the representation of a giant hand of the artist supports the facade of the Teatro Caio Melisso Spazio Carla Fendi, I personally read a desire to “capture” and preserve the assets of ancient art, sources of birth for the future, to confirm that there is no culture without a past “.

Maria Teresa Venturini Fendi

Subsequently, instead the request for formal correction ofPress office for Festival dei Due Mondi, which has a completely different tone. In addition to the usual formal aspect of the hint, which in any case always leaves doubt that there is some underlying resentment or a forced negative interpretation of an article that had the crisis of satirical “uselessness”, as reported several times, and without this containing anything reprehensible, strikes the exact explanation of the separation between the work of the festival and the work of the Carla Fendi Foundation: this is irrefutable news, repeated in a double passage, and must be understood.

The useless columnist, now old and decrepit, unfortunately he remembers when the Fendi Foundation’s program was instead predicted in great detail at the press conference to present the event (hence with unforeseen progress), a fact that avoided any misunderstanding about who does what, where and how .

And if all this were not enough to reflect, then we indulge in the correction to the “dimension” of the work that would have had a famous precedent last year (Sol Lewitt). Apart from the difference between Sol Lewitt and Daniele Puppi (de gustobus …) and the obvious style difference between the authors of the reprimand, such a correction seems desirable overtake to the right for a witty and spiritual tone even the same primordial article by Tuttoggi. And since we are not jealous or annoyed by the wits of others, we immediately publish the swampy correction and only add that it was far from us to indulge in the size of the work (who has it bigger, good pro does it), but rather understand the type of communication the author wants. To understand this, we never doubted that Little Tony’s tott was NOT a phallic symbol.

Referring to the article you published titled Festival, “Lu manone” by Monique delivers the package! | Will there be a surprise? signed by Carlo Vacchettioli.

The Festival dei Due Mondi Foundation in Spoleto reports that the installation that appeared on the facade of the Caio Melisso Theater in Piazza Duomo is mistakenly attributed by this newspaper to the artistic direction of the festival. The intervention is carried out by the Carla Fendi Foundation as part of the activities it independently carries out in Spoleto. Last year, the Fendi Foundation had already promoted an intervention of the same size, in the form of an artistic installation, during the Festival dei Due Mondi.

It is reiterated, if necessary, that the Carla Fendi Foundation acts in total artistic and organizational autonomy, therefore the artistic management of the Festival dei Due Mondi does not interfere in the choices and initiatives carried out.

Reporting the objective discrepancy between the information disclosed by the issuer as to the truth, please publish an appropriate correction immediately.

Yours sincerely,

Press office for the Festival dei Due Mondi Foundation

Marco Ferullo, responsible

The Carla Fendi Foundation Program

Carla Fendi Foundation, which renews its commitment to the Spoleto 65 Festival dei 2Mondi presents ARTIFICIAL ARTECHNOLOGYa project exploring a combination that has already been in the fund’s interest for some seasons.

ART ‘on the wall ‘. On the facade of the Teatro Caio Melisso Spazio Carla Fendi the extension of TREATMENT FRAGMENT No. 26 by the artist DANIELE PUPPI. A three-dimensional photographic work made in 4 copies in 2004 for the Lisson Gallery in London and now in Private Collections.

SCIENCE- in the former baptistery of Manna D’oro, which it will host REALITY? augmented reality installation of GABRIELE GIANNI. A visual and audio experience that wants to shake the perception of objective reality in a once sacred place, through a mystery “augmented” by technology.

CARLA FENDI PRIZE STEM [science, technology, engineering, mathematics]

On the last day of the festival, recognition is given to astrophysics MARICA BRANCHESI for the contribution given to the detection of gravitational waves. The ceremony will take place on the stage of the closing concert in the presence of Maestro Antonio Pappano, Mayor Andrea Sisti, President of the Festival Foundation, Artistic Director Monique Veaute and Maria Teresa Fendi, President of the Carla Fendi Foundation.

The Carla Fendi Foundation will host MEETINGS WITH ARTISTS which the Festival arranges on the weekend from 11 to 12.

DANIELE PUPPI

Since its debut in 1996 with Fatica n.1, a site-specific video audio installation, it has worked to undermine the idea of ​​space, which is still perceived and rotated within the Euclidean coordinates. Puppi perceives the work as a real ongoing work that arises after a period of pregnancy spent inside the spaces, where the artist experiences the environment and establishes an almost carnal relationship with it, assessing its limits and potential. By privileging the video installation, he manifested a new attitude to the medium by emphasizing and radically reversing the use of sound and the visual-architectural reconfiguration that always turns into something other than itself.

The technologies used – video projectors, LED screens, synchronizers, amplifiers, subwoofers, speakers, microphones – are functional for activating and multisensory amplification of the spectator’s perceptual, visual and auditory abilities, as an integral part of the work itself. The spectator / visitor is called to enter a new and alienating spatial-sensory dimension.

Among the most important solo exhibitions: VENTIVENTUNO (Magazzino Gallery, Rome, 2021) ALIE (N) ATION (Minnesota Street Project. San Francisco, 2018) RESPIRA (Galleria Borghese, Rome 2017); GOTHAM AWARDS (Italian Cultural Institute, New York 2015); 432 HERTZ, (Australian Experimental Art Foundation, Adelaide 2013); HAPPY MOTHERS (MAXXI, Rome 2013); FATIGUE n.23 (National Gallery, Rome 2010); FATIGUE n.16 (HangarBicocca, Milano 2008); TIREDNESS n. 27 (Melbourne International Arts Festival. Melbourne 2005) Among the most important group exhibitions in which he participated: THE CIRCUS WE ARE (La Delta – Namur, Belgium, 2022); VIDEO TYPE IN ITALY, VIDEO MAKES HAPPY (Exhibition Building – Rome, 2022); 18. INTERNACIONAL INTERNATIONAL FESTIVAL (Manizales, CO, 2019); ID. ART: TECHNICAL EXHIBITION (Ca ‘Foscari Zattere Cultural Flow Zone. Venice, VE, 2019); THE RAFT – Art Is (Not) Lonely (Mu.ZEE – Ostend, 2017); CYFEST 12 (International Media Art Festival – Media Center – New York, NY 2018); 17 NEW ARTISTS INTEGRATION (Jan Fabre Troubleyn / Laboratory, Antwerp, 2015); EL TOPO (Nuit Blanche, Paris, 2013); DIGITALIFE – HUMAN CONNECTIONS (Ex-Gil / Macro Museum, Rome, 2012); Spheres 4 (Galeria Continua / La Moulin, France, 2011/12); TAKING TIME (MARCO Museum, Vigo, Spain, 2007); TIPS AND VIDEO (Marta Herford Museum, Germany, 2006).

GABRIELE GIANNI

REALITY? is an augmented reality installation that seeks to explore the illusory space of consciousness, between the subjective self and the infinite possibilities within us. A perceptual experience in which the biological structures that make up the brain appear to weave architectures that support the perceived reality. In BAPTISTERY OF THE GOLDEN MANNA, after wearing augmented reality viewers, the visitor will walk into the church among marble and stucco and come in contact with suspended three-dimensional structures. Genuine scans of human neurons that on touch will release sound messages, memories, voices, thoughts. The walls populated by brain cells, neurons millions of times larger create another dimension and become an enlarged mirror of the mind. When the visitor feels ready to end his “augmented” experience, in a symbolic gesture he will place his hands on the baptismal font in the middle of the octagonal church, and around him the reality of Manna D’Oro will change, engulfed by a virtual darkness.

Reality? it is the attempt to use technology as a tool for profound questions, experienced through experience through a metaverse that invades what was once a sacred place. The question of what reality is is still inexplicable, but the doubt that exists when our senses are first expanded by technology and then deprived of it is a common source of drowsiness.

Director, screenwriter Gabriele Gianni uses digital animations he composes on his work. In 2009, he made the animated short film Dyslexia, which was presented at the 27th Torino Film Festival and the 50th Annecy International Animation Festival. With his personal visual language, he collaborates from 2018 to 2021 with the Carla Fendi Foundation and makes documentaries about the combination of art and science for the same film: A SENSE OF WONDER about Stephen Hawking, ECCE ROBOT about the development of artificial intelligence and robot technology, NOTES ON STONE about the Austrian sculptor Anna Mahler and OM SOL about the American artist Sol LeWitt, all presented during the Spoleto festivals.

CARLA FENDI STEM AWARD [science,technology,engineering,mathematics]

On the last day of the festival, recognition is given to astrophysics MARICA BRANCHESI for the contribution given to the detection of gravitational waves.

The ceremony will take place on the stage of the closing concert in the presence of Maestro Antonio Pappano, Mayor Andrea Sisti, President of the Festival Foundation, Artistic Director Monique Veaute and Maria Teresa Fendi, President of the Carla Fendi Foundation.

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