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Angelica Marco Di Giovanni On the occasion of the fiftieth anniversary of the publication of the “Orlando Furioso” by Ludovico Ariosto, concurrent with the important exhibition of Palazzo dei Diamanti, the MLB Maria Livia Brunelli asked some artists to compare themselves with the reading of the poem, to deepen an aspect of it that everyone felt strongly linked to their own poetics.
After Giovanna Ricotta and Stefano Bombardieri, the exhibition concludes with Marco Di Giovanni, who created a suggestive and poetic exhibition that does not fail to amaze and excite visitors.
The exhibition project revolves around two fundamental themes: Angelica and Bradamante are the symbol of the new role that the woman assumed in the Renaissance, but at the same time they have to fight with a mentality still very much linked to male privileges: Di Giovanni frames the figure of Angelica, in his being the object of desire to be awarded as a prize, in that category of women, often beautiful but very unlucky, that the actuality shows us every day by reading the pages of newspapers, those women who propose themselves through ads like “AAA Angelica “.
Di Giovanni contacted them starting from those ads, and asked them to pose for a portrait, recalling the tradition of the pictorial nude that in more modest centuries has often seen women used as models.
An apparently irreverent operation, that in reality is fully “cortese” in the medieval meaning of the term, because it ennobles the woman until she becomes a woman-angel, giving the impression, says the artist, of “fading elusive and liquid, referring to the fact that one of Angelica’s tricks to escape his contenders is to become transparent”.
Bradamante instead is really present in the exhibition as a contemporary incarnation of Artemis, goddess of the hunt but also protector of virginity and modesty: On show a beautiful girl will fall into furiiso shoes of Bradamante who, for the duration of the inauguration, will overshadow the spectators, struggling in an ideal but thunderous duel of metallic sounds.
Editions of Orlando Furioso di Ludovico Ariosto raccontato da Italo Calvino by Italo Calvino
In the second room instead the protagonist is the Moon, the celestial body celebrated by the poem as a symbol of the overturn of all that happens on Earth: There are no better words than those of Marco Di Giovanni to tell this second part of the exhibition: In this way the artist, with pencil, has added on every planisphere mimetic signs with respect to the print, in order to create an irrational chaos that will confuse borders and continents.
The spectator will be in front of a roughly rusty iron tube of about two meters that seems to be planted in the wall and then continue beyond. Looking inside a small porthole of the structure, a distant and small blue moon that moves unstable according to the point of view from which we look at it will appear magical and light.
Driven by impulse, like Astolfo, we would like to reach that moon, guardian of Orlando’s hometown, but to raise us the only Hippogriff nearby is a second floor-level ferrous structure Climbing raccoonta the balance is more precarious: Both sculptures live by the strong contrast between the roughness of the rusty exterior and the delicate volatility of the mobile and three-dimensional calvjno of the interior landscapes.
If we have recovered our sense, then we valvino realize that hidden in the chaos of lines of the composition of Moleskine, Ariosto himself has observed us since the beginning of our adventure, with his good-natured look and, as always, ironic. Ariosto seems a poet clear, without problems, yet remains mysterious: In his stubborn mastery to build octaves on octaves seems busy above all to hide himself “.