samuel di blasi lo scalatore di nuvole
a Barbara e Petra le mie nuvole
samuel di blasi lo scalatore di nuvole the clouds climber
SAMUEL DI BLASI LO SCALATORE DI NUVOLE Museo Nazionale della Montagna Duca degli Abruzzi, Torino 20 Marzo - 28 Giugno 2015 / March 20th - June 28th 2015 A cura di / Curated by Riccardo Cordero
Testi di / Texts by Zenaide Di Blasi Barbara Borra Giovanni Vannucchi Aldo Audisio Traduzioni di / Translations by B-International Direzione artistica / Art Director Samuel Di Blasi Redazione / Editorial department Michela Zerrilli Stampa / Printed by Lizea Editore Libro a cura di / Book curated by Samuel Di Blasi In copertina / On the cover Studio per “Lo scalatore di nuvole” / Study for “The clouds climber” Ringraziamenti / Thanks to Riccardo Cordero, Aldo Audisio, Noriaki Maeda, Mauro Pelassa, Giovanni Tarable, 1EVME 8SHEVS 1EVGS 6MFIXXM 'PEYHMS 6YJ½RS +MSVKMS 6M^^E (ERMIPE 3GGIPPM 4EXVM^ME *SVXYREXS Sandro Corino Un ringraziamento speciale a / Special thanks to Valerio, Elisa e Zeno Berruti, Patrizia Nicotera, Neno e Elda Disarò, Amalia e Beppe, Laura e Nicola
Sommario / Contents
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3TIVI / Works
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Schicksal ZENAIDE DI BLASI
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Il progetto musicale / The musical project BARBARA BORRA
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Non ci sono errori / No mistake GIOVANNI VANNUCCHI
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3VM^^SRXI UYSXMHMERS / Daily horizon ALDO AUDISIO
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Autori / Authors
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&MSKVE½E /Biography
Opere / Works
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232 )´ 92% 29:30% 2015 ferro e resina / iron and resin 300 x 300 x 300 cm
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03 7'%0%836) (- 29:30) 2014 ferro, cartone, colla vinilica e gesso / iron, cardboard, glue and plaster 170 x 84 x 84 cm
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03 7'%0%836) (- 29:30) -2014 ferro, cartone, colla vinilica e gesso / iron, cardboard, glue and plaster 150 x 105 x 78 cm
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74%>-3 1983 86% 0) 4%630) -- 2015 ferro, plexiglas, colla e gesso / iron, plexiglas, glue and plaster 200 x 87 x 58 cm
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*%6%;%= 73 '037) 2012 legno, luce al neon, vetro e resina / wood, neon light, glass and resin 120 x 90 x 80 cm
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3086) 0´31&6% (- 92 73+23 2013 ferro, alluminio e gesso / iron, aluminum and plaster 170 x 85 x 64 cm
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SCHIKSAL 2014 ferro, cartone, poliestere, pittura acrilica e gesso/ iron, cardboard, polyester, acrylic paint and plaster 170 x 105 x 84 cm
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SCHICKSAL 2014 installazione / installation dimensioni ambientali / environmental dimensions poliestere e gesso / polyester and plaster
SCHICKSAL Il racconto Zenaide Di Blasi
6EWWIKREXS E TVSGIHIVI WYS QEPKVEHS MR UYIPPE WIQM SWGYVMXk 4EYP WM EGGSVWI HM non avere più freddo e stranito restò a guardarsi intorno. In piedi immobile poteva udire solo un suono ed era il suo respiro. 2SR G´IVE TM JVIXXE RIFFME S TIRWMIVM EH MRZEHIVI MP WYS WTE^MS 7SPS MP VMXQS GEHIR^EXS HIP WYS ½EXS E VMGSVHEVKPM HM IWWIVI ERGSVE ZMZS 7M WJSV^{ GSQI WYS WSPMXS HM TIRWEVI E UYEPGSWE HM MRYXMPI QE RMIRXI Quello spazio silenzioso ed eterno gli era famigliare. - WYSM SGGLM GSQMRGMEVSRS E TSWEVWM WYPPE WYTIV½GMI QMWXIVMSWE HM UYIPPI WXVMEXYVI Restò ipnotizzato dalla caverna di nube attraversata che ora solcava. 3KRM WYS TIRWMIVS PS TSVXEZE E WTSWXEVI PS WKYEVHS WY YR TYRXS TVIGMWS HM UYIPPE GEZIVRE IH IVE Pv WSPMHM½GEXS I MRGEWXVEXS RIPPE WYTIV½GMI VYZMHE GLI PS GMVGSRHEZE Gli vennero alla mente mille pensieri. Gli occhi ogni volta lo portavano a guardare in un punto preciso ed ogni volta diverso. 7M EVVIWI E UYIPPS WTIGGLMS WSPMHM½GEXS I WYVVIEPI 7M EZZMGMR{ TSM E UYIPPE GLI KPM WIQFVEZE GSQI PI EPXVI YRE TEVIXI GSR PE XVEQE di un alveare immenso. Si avvicinò e allora sentì. Ecco il ronzio delle api che gli volavano nella testa in un GSRXMRYS MTRSXMGS I QEVXIPPERXI 7M VMEPPSRXER{ HEPPE WYTIV½GMI HM WGEXXS E VMTVIRHIVWM PE TEGI VMXVSZEXE TSG´ER^M 'SQI MP QMKPMSVI HIM KVEJ½XM VMGSRSFFI RIPPE TIVJIXXE MVVIKSPEVMXk HIPPI WYTIV½GM MRXSVRS PE QETTE HIM WYSM WXEXM H´ERMQS HIM WYSM TIRWMIVM HIPPI WYI IQS^MSRM
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SCHICKSAL The story Zenaide Di Blasi
Paul resigned himself to go ahead through that half-darkness when he realized he [EWR´X JIIPMRK GSPH ER] QSVI He stood still looking around in a sort of puzzlement, his own breath the only sound. No more rush, fog or thoughts invading his space. 3RP] XLI VIKYPEV VL]XLQ SJ LMW FVIEXL VIQMRHMRK LMQ LI [EW WXMPP EPMZI He tried in vain to distract himself by thinking of something silly. That silent eternal space was familiar to him. His eyes started gazing at the mysterious surface of those stripes. He was hypnotized by the “cloud-cave” he had just entered and was now treading. Every single thought led his gaze to a precise point of the cave where it WXE]IH IQFIHHIH ERH WSPMHM½IH WYVVSYRHIH F] E VSYKL WYVJEGI A thousand thoughts came to his mind. His eyes made him look at a point each time precise and each time different. He surrendered to that solid, surreal mirror. Then he got next to a wall which looked like the others but its structure was like a huge beehive. He got closer and he heard the bees buzzing in a hypnotic constant continuum inside his head. ,I UYMGOP] HVI[ FEGO MR SVHIV XS VIKEMR XLI TIEGI LI LEH JSYRH WLSVXP] FIJSVI He could see the map of his moods, thoughts and emotions in the perfect MVVIKYPEV WYVJEGIW EVSYRH LMQ NYWX PMOI MR XLI FIWX SJ XLI KVEJ½XM
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-0 463+)883 197-'%0) Barbara Borra 2SR r WIQTVI GSWv MQQIHMEXS WTMIKEVI TIVGLq YR´MHIE QYWMGEPI VMIWGE EH MHIRXM½GEVWM MQQIHMEXEQIRXI GSQI VIEPM^^EXE WSPS WI EZZMGMREXE EH YR´EPXVE MHIE artistica. Questo è ciò che è accaduto a Floating Clouds, la musica composta per P´MRWXEPPE^MSRI HM 7EQYIP (M &PEWM ±7GLMOWEP² La successione dei 4 suoni viene chiamato nella teoria musicale tritono: tra una RSXE I P´EPXVE G´r YRE HMWXER^E HM XVI XSRM -P XVMXSRS r ERGLI PE QIXk IWEXXE HM YRE SXXEZE I TIV UYIWXS VMTIXIRHSPM GMGPMGEQIRXI P´SVIGGLMS YQERS RSR VMWYPXE TM MR KVEHS HM GETMVI WI P´MRXIVZEPPS r EWGIRHIRXI S HMWGIRHIRXI KIRIVERHS P´SQSRMQS TEVEHSWWS (MERE (IYXWGL YR´MPPYWMSRI YHMXMZE GLI GVIE YRE WIRWE^MSne di spaesamento tonale. +PM SQMRM GLI SWWIVZERS P´STIVE WXERRS GSRXIQTPERHS MP PSVS ±HIWXMRS² TIVWM I MQQIVWM MR YR PYSKS I MR YR XIQTS WSWTIWS I MPPYWSVMS UYEWM WIR^E WETIVI GLI HMVI^MSRI TVIRHIVI I XYXXEZME GSRWGM GLI HM JVSRXI E PSVS WM WXE WZIPERHS YR UYEPcosa che li riguarda e li tocca da molto vicino, ma che ancora non gli appartiene. 8,) 197-'%0 463.)'8 Barbara Borra It is not always so effortless to explain the reason for wich a musical idea is able XS FI MQQIHMEXIP] MHIRXM½IH EW EGGSQTPMWLIH SRP] MJ GSQFMRIH [MXL ERSXLIV artistic idea. This is what happened in Floating Clouds, the music composed for Samuel Di Blasi installation,“Schiksal”. The succession of 4 sounds is called in music theory tritone: there is a distance of three tones between a note and the other. The tritone is also exactly half an octave and for this reason, by repeating them cyclically, the human ear is no longer able to understand if the interval is ascending or descending, creating the paradox of the same name (Diana Deutsch, 1986), an auditory illusion that creates a feeling of tonal disorientation. The little men who observe the work are contemplating their “destiny” lost and immersed in a place and in a suspended and illusory time, almost not knowing which direction to take and yet aware that in front of them something is revealing and that it concerns and touches them very closely, but that it does not belong to them yet. 89
232 '- 7323 )6636Giovanni Vannucchi
La cosa più ovvia da dire era che non sarebbe stato facile. 5YEXXVSQMPESXXSGIRXS I TEWWE QIXVM ZIVXMGEPM HM HMJ½GSPXk YRS HSTS P´EPXVS SPXVI EPP´MRIZMXEFMPI VMXSVRS 9R ZMEKKMS HIPPE QIRXI QM HMGIZE 4EPQMVE YR MRJIVRS TIV la schiena e per le gambe e per i piedi, risponderei adesso, se non fosse tardi. 4IV RSR TEVPEVI HIPP´SJJIWE EPPE QME WIHIRXEVMIXk MP QMS FVEHMTS MRXIVMSVI GLI WM ferma a più riprese. La mia ascesa è una via crucis, eppure non la smetto. Non la smetto, non mi siedo e pure continuo a bestemmiare la mia imprudenza. La sostanza di chi è rammollito, mi ripetevo, è il fatto che preferisce non andare da nessuna parte e chi tradisce la propria natura, prima o poi, ne paga le conseguenze. Sempre. ,S PEWGMEXS PE QEGGLMRE EPP´YPXMQS VMJYKMS GLI LS TSXYXS VEKKMYRKIVI QE RSR sono riuscito a partire subito, non ho avuto cuore. Non sono animale di montaKRE ZMZS EH EPXMXYHMRM HMZIVWI WSRS YR TIWGI JYSV H´EGUYE I QM r QERGEXS TIV MP momento, il coraggio. Dormire in montagna per la prima volta, senza aver ben chiaro il motivo per cui mi trovassi lassù, senza saper bene cosa ci fossi venuto a JEVI WIR^E RIQQIRS VMGSVHEVQM XVSTTS HM TVIGMWS XYXXS UYIPPS GLI PIM QM EZIZE HIXXS HM JEVI YRE ZSPXE GLI JSWWM EVVMZEXS TEWWEVI PE QME TVMQE RSXXI MR EPXE QSRtagna, in una bolla di silenzio sconosciuta, faccia a faccia con il buio più buio che ricordassi di aver mai visto è stato il mio primo passo. -P FYMS TM FYMS I PE PYGI TM PYQMRSWE 8VE PI XERXI HMQIRXMGER^I RSR G´IVERS gli occhiali da sole. Roba da poco, in effetti: pochi euro al grande magazzino ma GSQYRUYI YXMPM EPPS WGSTS 9XMPM E RSR VMQERIVI EFFEKPMEXM 4IVGLq r TSWWMFMPI WETIXI 9R EFFEKPMS WXIVISJSRMGS GLI VMIQTMI PE XIWXE GSQI KPM SGGLM 9R XYXXS XEPQIRXI EJJSPPEXS HE VMWYPXEVI RSR QIRS HMJ½GMPI HIP RYPPE SWGYVS HM UYIPPE TVMQE RSXXI 0´EPFE LE HMXE HM VSWE GSR YRKLMI EP GSFEPXS I P´EVME ½RI VIKEPE YR´EGGYVEtezza digitale. Anche il mio cuore di pianura collina spiazzato.
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0E GSWE TM SZZME HE HMVI IVE GLI RSR WEVIFFI WXEXS JEGMPI UYIPPE TM WFEKPMEXE r che sarei stato solo. :MZS HE WSPS UYEWM SKRM WIGSRHS HIM QMIM KMSVRM 'SRSWGS FIRI MP WMPIR^MS ERGLI MP WMPIR^MS HIPPE QME QIRXI GLMYHS PI ½RIWXVI I SKRM VYQSVI WM WTIKRI KMVS YR MRXIVVYXXSVI I TYVI PE QME QIRXI WM UYMIXE 2SR QM LE QEM WTEZIRXEXS Questione di abitudine, certo, ma anche di attitudine. Molti vorrebbero farlo ma poi hanno i brividi: da solo non hai alibi. Io la cerco deliberatamente, la solitudiRI 2SR r YR ZI^^S r UYEPGSWE HM FMSPSKMGS (E WSPS I MR WMPIR^MS %ZIZS TIRWEXS GLI UYEWW JSWWI P´MHIEPI QE QM WFEKPMEZS 2SR G´r WMPIR^MS I EGGMHIRXM TVSTVMS RSR WSRS WSPS 0E VIEPXk WYSRE HM TIV WI WXIWWE YR VYQSre, un suono, una musica - forse. Sicuramente non è silenzio. Mi par di uscire HEPPE QMRMIVE GSP WYS FYMS SZEXXEXS I XVSZEVQM WSXXS MP GMIPS ZMZS HM WXIPPI 0´EVME r TMIRE HM VYQSVM GSQI HM GSWI QIWWEKKM HE QMKPMEME HM QMKPME GSQI HE TSGLM QIXVM P´EVME WXIWWE LE YRE WYE ZSGI ERGLI WIR^E ZIRXS ) TSM RSR WSRS WSPS EWWSPYXEQIRXI 0E ZMXE r YR GSRGIXXS EVFMXVEVMS QE P´IWMWXIR^E LE YR GLq HM ineffabile: cosa distingue ciò che è vivo da ciò che non lo è? Quello che non WM QYSZI RSR r ZMZS# 0´MQQEXIVMEPI r GSQYRUYI TVIWIRXI# )´ WIRWMFMPI# '´r MR UYEPGLI QSHS# 1EQQE QME RSR ZIRMXIQM E HMVI GLI UYIWXI QSRXEKRI RSR LERRS TVIWIR^E GLI RSR GM WSRS GLI RSR WSRS UYM GLI RSR LERRS YR KIRIVI HM ZMXE ERGLI PSVS Mi guardano, a volte, altre mi ignorano del tutto. Hanno occhi ed orecchie in UYEPGLI QSHS )´ YRE RSWXVE TVIWYR^MSRI UYIPPE HM QMWYVEVI XYXXS WIGSRHS RSM WXIWWM HM JEVGM QIXVS HM XYXXS UYERXS WEVIFFI YRE GSWE HE VMHIVI WI TSM WGSTVMWWMQS GLI XYXXS UYERXS r MRZIGI MP TEVEHMKQE HM RSM WXIWWM 5YMRHM MS GVIHS GLI WMERS GSWGMIRXM MR YR UYEPGLI QSHS QMRIVEPI 9RE GSWGMIR^E EWWEM TM JSVXI HIPPE QME TIVGLq WSRS WIQTVI I GSQYRUYI UYIPPS GLI WSRS QIRXVI MS RSR VMIWGS E WXEVI HSZI WSRS HER^ERHS JVE UYIPPS GLI ZSVVIM I UYIPPS GLI ZSPIZS JEVI )´ PE WXIWWE GSWE GSR XYXXS MP VIWXS QE HIP VIWXS UYM XYXXS r QSRXEKRE XYXXS XVERRI MP cielo. Questa mattina il cielo aveva un sorriso termonucleare e sembrava più vicino. 7IQFVEZE HIRWS WIQFVEZE YRE ³GSWE´ GLI TSXIZM XSGGEVI MR GYM TSXIZM IRXVEVI %ZIXI TVIWIRXI P´SGIERS# 5YIWXE QEXXMRE LS JEXXS YR XYJJS WMHIVIS FEKRERHSQM H´EVME WSXXMPI 1M HMWTMEGI HM HEVPS TIV WGSRXEXS MP GMIPS 1E WTIWWS WYGGIHI Qui non è possibile. Proprio per niente. Qui il cielo non è aria, non è un effetto SXXMGS TM S QIRS WTIGMEPI (E UYIWXS TYRXS HM SWWIVZE^MSRI MP GMIPS r WIQTPMGI-
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QIRXI GMIPS )´ Pv PS ZIHM PS WIRXM PS ERRYWM I UYEWM PS KYWXM TVSTVMS GSQI GMIPS Anche lui deve avere una specie di coscienza, la consapevolezza di essere se stesso. Di essere cielo, intendo. Pensavo di andare a farmi un giro in montagna ubbidendo a chi non vuole vedermi seppellito fra le mie carte, non credevo di andare a ricevere una lezioRI HM ^IR 5YM MRXSVRS WSRS P´YRMGS GLI RSR VMIWGI EH IWWIVI WIQTPMGIQIRXI UYIPPS GLI r 7SRS P´YRMGE IGGI^MSRI RIZVSXMGE MR YR QEVI HM TEGI IWMWXIR^MEPI 0E GSWE TM HMJ½GMPI HE JEVI r TEVPEVI HIPPI RYZSPI 7I MP GMIPS I PI QSRXEKRI WSRS MR UYEPGLI QSHS ZMZI PI RYZSPI GSWE WSRS# 0I RYZSPI RSR WSRS GSWI 0E RYZSPE RSR IWMWXI 7M XVEXXE HM YR UYEPGLI XMTS HM KEW Esiste il vapore, ma il vapore non ha forma. La nuvola ha una forma ma è fatta HM UYEPGSWE GLI RSR RI LE 0E RYZSPE r YRE GSRXVEHHM^MSRI 2S WMGYVEQIRXI PE nuvola non esiste. Da piccoli io e Palmira giocavamo con le nuvole. Avete presente? Quello è un TIWGI UYIPPS MRZIGI r YR TEPE^^S UYIPP´EPXVS KYEVHE r YR HSQEXSVI HM GMVGS GSR HIM FEJ½ E QERYFVMS I P´EPMXS TY^^SPIRXI HM WMKEVS© I GSWv ZME 1E PI RYZSPI non sono niente, non sono nemmeno se stesse. Il gas che le forma non forma una nuvola, rimane sempre gas. Le nuvole nascono nella tua testa. Sei tu che GVIM PI RYZSPI I PI WYI JSVQI 7IM XY GLI GVIM MP PSVS IWWIVI UYEPGSWE 0I GVIM XY non esistono da sole. 7I MP GMIPS r PE QIRXI MR½RMXE PI RYZSPI WSRS M WYSM TIRWMIVM MRGSRXVSPPEXM 'LMWWk WI ERGLI HIP GMIPS TSWWS HMVI PE WXIWWE GSWE SVE GLI QI RI WXS UYM E REWS EPP´MRW WYPPE QSRXEKRE E GSRXEVI PI RYZSPI GLI HMZIRXERS KVMKMI (SZI ½RMWGI MP GMIPS# % UYEPI HMWXER^E HEP QMS REWS# (STS YR GIRXMQIXVS r KMk GMIPS# ) UYIPPE JSWGLME GLI MRM^ME EH EZZSPKIVI XYXXS RSR r JSVWI YRE RYZSPE# 'LI forma ha adesso la montagna? Che forma il cielo? Che forma ho preso io? La cosa migliore da fare è stare a guardare. %PPE ½RI ERGLI MR UYIWXS GEWS r QIKPMS GLI JEGGME GM{ GLI WS JEVI QIKPMS WXEVI a guardare. Mentre in mezzo ad un mondo divenuto piccolo e grigio mi trasciRS TIV KPM YPXMQM QIXVM ½RS EP VMJYKMS GIVGERHS HM HMQIRXMGEVI HM EZIVI TMIHM I gambe e schiena, penso di avere avuto una conferma. Non esiste nessun posto dove dobbiamo andare ma probabilmente ne esiste uno dove stare. )´ XYXXS E TSWXS RSR GM WSRS IVVSVM
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23 1-78%/) Giovanni Vannucchi
-X [SYPHR´X LEZI FIIR IEW] [EW XLI QSWX SFZMSYW XLMRK XS WE] *SYV XLSYWERH IMKLX LYRHVIH ERH WSQI ZIVXMGEP QIXIVW SJ WXVMJI SRI EJXIV XLI other, besides the inevitable return trip. % NSYVRI] JSV ]SYV QMRH 4EPQMVE YWIH XS XIPP QI E PMZMRK LIPP JSV Q] FEGO Q] PIKW ERH Q] JIIX - [SYPH VITP] RS[ MJ MX [EWR´X XSS PEXI 2SX XS QIRXMSR XLI insult to my sedentary lifestyle: my interior sloth, repeatedly stopping. My ascent MW E TYVKEXSV] ]IX -´Q RSX UYMXXMRK -´Q RSX WMXXMRK HS[R ERH - OIIT GYVWMRK EX Q] imprudence. 8LI IWWIRGI SJ E [IEOPMRK - OITX VITIEXMRK XS Q]WIPJ MW XLI JEGX XLI LI´H VEXLIV not go anywhere and those who betray their nature, sooner or later, will pay XLI GSRWIUYIRGIW %P[E]W - PIJX Q] GEV EX XLI PEWX QSYRXEMR VIJYKI - GSYPH VIEGL FYX - GSYPHR´X PIEZI VMKLX E[E] - HMHR´X LEZI XLI LIEVX XS HS MX -´Q RSX E QSYRXEMR ERMQEP - PMZI EX E HMJJIVIRX IPIZEXMSR -´Q PMOI E ½WL SYX SJ [EXIV JSV E QSQIRX XLI GSYVEKI JEMPIH QI 7PIITMRK JSV XLI ½VWX XMQI MR XLI QSYRXEMRW RSX GIVXEMR SJ XLI VIEWSR - [EW there, with no knowledge of what I should do, not remembering too well IZIV]XLMRK WLI XSPH QI - WLSYPH LEZI HSRI SRGI - [EW XLIVI WTIRHMRK Q] ½VWX night up in the mountains, in an unknown bubble of silence, face to face with XLI HEVOIWX HEVO - GSYPH VIGEPP [EW Q] ½VWX WXIT 8LI HEVOIWX HEVO ERH XLI FVMKLXIWX PMKLX 7YRKPEWWIW [IVIR´X EQSRK XLI QER] things I forgot to bring. Cheap things, actually: a few euros at the mall yet very YWIJYP 9WIJYP JSV RSX KIXXMRK WYRFPMRHIH *SV MX MW TSWWMFPI ]SY ORS[ % WXIVISTLSRMG HE^^PI ½PPMRK Q] QMRH EW [IPP EW Q] I]IW 7YGL E JYPP [LSPI XLEX MX [EWR´X IEWMIV XLER XLEX ½VWX RMKLX´W HEVORIWW 8LI WYRVMWI LEW TMRO ½RKIVW [MXL GSFEPX REMPW ERH XLI ½RI EMV SJJIVW E HMKMXEP neatness. Even my heart, which belongs to the hills, is taken aback. -X [SYPHR´X LEZI FIIR IEW] [EW XLI QSWX SFZMSYW XLMRK XS WE] XLI JEGX XLEX - was doing it by myself was the wrongest one. 95
I live almost every second of my days by myself. I know silence very well, even the one in my mind: I close the windows and every noise shuts down, I turn off E W[MXGL ERH IZIR Q] QMRH UYMIXW HS[R -X RIZIV WGEVIH QI -X´W E QEXXIV SJ habit, sure, but it also takes a predisposition. Many people would want to do it but then they get the chills: you have no alibi when you are alone. I intentionally GLSSWI MX XLI PSRIPMRIWW -X´W RSX E LEFMX MX´W WSQIXLMRK FMSPSKMGEP %PSRI ERH silent. - XLSYKLX YT LIVI [SYPH LEZI FIIR Q] MHIEP TPEGI FYX - [EW [VSRK 8LIVI´W RS WMPIRGI ERH HEQR MX -´Q RSX EPSRI EX EPP 6IEPMX] LEW E WSYRH SR MXW S[R E RSMWI E QYWMG QE]FI -X´W RSX WMPIRGI JSV WYVI -X´W PMOI GSQMRK SYX SJ E QMRI JVSQ MXW QYJ¾IH HEVORIWW ERH ½RH Q]WIPJ YRHIV E PMZMRK WXEVVIH WO] 8LI EMV MW ½PPIH [MXL RSMWIW EW [IPP EW XLMRKW QIWWEKIW JVSQ XLSYWERHW SJ QMPIW SV E JI[ QIXIVW XLI EMV MXWIPJ LEW MXW S[R ZSMGI IZIR [LIR MX´W [MRHPIWW 1SVISZIV -´Q RSX EPSRI EFWSPYXIP] RSX 0MJI MW ER EVFMXVEV] GSRGITX FYX I\MWXIRGI MW WSQILS[ MRIJJEFPI [LEX´W XLI HMWXMRGXMSR FIX[IIR [LEX´W EPMZI ERH [LEX´W RSX# ;LEX´W RSX QSZMRK MW MX RSX EPMZI# ;LEX´W MRXERKMFMPI MW MX TVIWIRX ER][E]# Is it sensitive? Is it there, in some way? 3L Q] +SH HSR´X XIPP QI XLIWI QSYRXEMRW HSR´X LEZI E TVIWIRGI XLEX XLI]´VI RSX XLIVI XLEX XLI]´VI RSX LIVI XLEX XLI] HSR´X LEZI WSQI WSVX SJ PMJI XSS 7SQIXMQIW XLI]´VI PSSOMRK EX QI WSQIXMQIW XLI] GSQTPIXIP] MKRSVI QI They have eyes and ears in their own way. It is our presumption to measure everything comparing it to us, to make ourselves the meter of everything: it would be funny if we found out that everthing is a paradigm of us. Therefore I believe they are conscient, in some sort of mineral way. A much WXVSRKIV GSRWGMIRGI XLER QMRI WMRGI XLI]´VI EP[E]W ERH RIZIVXLIPIWW [LEX XLI] EVI [LMPI -´Q RSX EFPI XS WXERH [LIVI - EQ HERGMRK FIX[IIR [LS -´H [ERX XS be and what I wanted to do. Likewise with everything else: but here, after all, everything is mountain, everything but the sky. This morning the sky had a thermonuclear smile and it looked closer. It looked HIRWI MX PSSOIH PMOI ±WSQIXLMRK² ]SY GSYPH XSYGL ]SY GSYPH IRXIV =SY ORS[ the ocean? This morning I took a sidereal dive, bathing into the thin air. -´Q WSVV] XS XEOI MX JSV KVERXIH XLI WO] &YX MX LETTIRW SJXIR ,IVI MX´W RSX TSWsible. Not at all. Here the sky is not air, it is not a more or less special optical MPPYWMSR *VSQ XLMW TSMRX SJ ZMI[ XLI WO] MW WMQTP] XLI WO] -X MW VMKLX XLIVI ]SY can feel it, smell it and you can almost taste it, just like the sky. It has to have some kind of conscience, aware of being itself. I mean, being the sky. I thought I was going to go on a hike in the mountains, obeying to those that HSR´X [ERX XS WII QI FYVMIH EQSRK Q] TETIVW - HMHR´X MQEKMRI - [SYPH KS ERH 96
VIGIMZI E ^IR PIWWSR -´Q XLI SRP] SRI EVSYRH LIVI XLEX GERRSX FI WMQTP] [LEX LI MW -´Q XLI SRP] RIYVSXMG I\GITXMSR MR E WIE SJ I\MWXIRXMEPMWX TIEGI 8EPOMRK EFSYX XLI GPSYHW MW XLI QSWX HMJ½GYPX XEWO If the sky and the mountains are alive in some sort of way, what about theGPSYHW# 'PSYHW EVI RSX XLMRKW 8LI GPSYH HSIWR´X I\MWX -X´W EPP EFSYX WSQI OMRH SJ KEW 7XIEQ I\MWXW FYX XLI WXIEQ LEW RS WLETI 8LI GPSYH LEW E WLETI FYX MX´W QEHI SJ WSQIXLMRK XLEX LEWR´X KSX ER] 8LI GPSYH MW E GSRXVEHMGXMSR 2S XLI GPSYH WYVIP] HSIWR´X I\MWX When we were children Palmira and I used to play with the clouds. Do you ORS[ [LEX - QIER# 8LEX SRI MW E ½WL XLEX SRI MW E FYMPHMRK XLEX SRI PSSO MW E GMVGYW XEQIV [MXL E LERHPIFEV QYWXEGLI ERH LMW FVIEXL WXMROW SJ GMKEVW© ERH on and on. &YX GPSYHW EVI RSXLMRK XLI]´VI RSX IZIR XLIQWIPZIW 8LI KEW XLI]´VI QEHI SJ HSIWR´X KMZI XLIQ E WLETI MX VIQEMRW KEW 'PSYHW [IVI FSVR MR ]SYV QMRH =SY GVIEXI XLI GPSYHW ERH XLIMV WLETI =SY QEOI XLIQ FIGSQI WSQIXLMRK =SY create them, they do not exist on their own. -J XLI WO] MW XLI MR½RMXI QMRH GPSYHW EVI MXW YRGSRXVSPPEFPI XLSYKLXW - [SRHIV MJ - GER WE] XLI WEQI EFSYX XLI WO] RS[ XLEX -´Q LIVI PSSOMRK YT SR the mountains, counting the clouds that are turning grey. ;LIVI HSIW XLI WO] IRH# ;LEX´W XLI HMWXERGI JVSQ Q] RSWI# % GIRXMQIXIV E[E] MW MX EPVIEH] WO]# %RH XLI QMWX VMWMRK ERH IRKYP½RK IZIV]XLMRK MWR´X MX E GPSYH# ;LEX´W XLI WLETI SJ XLI QSYRXEMR RS[# ;LEX´W XLI WLETI SJ XLI WO]# What shape did I turn into? The best thing I can do is watch. -R XLI IRH MR XLMW GEWI XSS -´H FIXXIV HS [LEX - HS FIWX NYWX [EXGL -R E [SVPH XLEX LEW FIGSQI WQEPP ERH KVI] [LMPI -´Q HVEKKMRK Q]WIPJ XLVSYKL XLI PEWX meters leading to the refuge, trying to forget I have feet and legs and a back, I think I received an answer. 8LIVI´W RS TPEGI [I LEZI XS KS XS FYX TVSFEFP] XLIVI´W SRI [LIVI XS WXE] )ZIV]XLMRK MW EPP VMKLX XLIVI´W RS QMWXEOI
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36->>328) 5938-(-%23 Aldo Audisio Direttore del Museo Nazionale della Montagna
Il Museomontagna è un luogo di continuo confronto, di continuo scambio di saperi, di lavoro comune con ampie aperture ad ogni nuova esperienza. Non WSPS SKKM RI r XIWXMQSRI PE PYRKE WXSVME 0E JSXSKVE½E PE TMXXYVE PE WGYPXYVE WSRS sempre state di casa. Il Museo e il Club Alpino Italiano hanno costantemente ZEPSVM^^EXS P´EVXI HIPPI XIVVI EPXI GIVGERHS RYSZM QSQIRXM HM MRRSZE^MSRI KYEVHERHS EM KMSZERM I EP JYXYVS 9RE VMGIVGE QEM ½RI E Wq WXIWWE QE MRWIVMXE MR YR grande e articolato itinerario di conoscenza e valorizzazione delle Alpi e delle QSRXEKRI -R UYIWXS TIVGSVWS WM TSRI RSR E GEWS PE QSWXVE HM 7EQYIP (M &PEWM Lo scalatore di nuvole è un viaggio ideale verso una vetta, un luogo inesplorato, YR´EWTVE ZEPPEXE 0YSKLM SWWIVZEXM HEP TMGGSPS 4EYPYW GSR PS WKYEVHS VMZSPXS ZIVWS MP VIEPI QE GSR YRE QIXE TVIGMWE YRE RYZSPE# *SVWI UYIPPE HIP RSWXVS SVM^^SRXI UYSXMHMERS (%-0= ,36->32 Aldo Audisio National Museum of the Mountain Director
The Museomontagna (Mountainmuseum) is a place of continous confrontation, continous exchange of knowledge, communal work opened to any new experience. Not only nowadays, its long history witnesses it. Photography, painting, sculpture have always been welcome. The Museum and the Italian Alpine Club have always valued the arts of the highlands, looking for new moments of innovation, looking at the new generation and the future. It has never been a research for its own sake, rather an integration in an extensive and articulate path of knowledge and enhancement of the Alps and the QSYRXEMRW 7MKRM½GERXP] 7EQYIP (M &PEWM I\LMFMX MW WMXYEXIH EPSRK XLMW [IPP IWXEFPMshed path. 8LI GPSYHW´ GPMQFIV MW ER MQEKMREV] NSYVRI] XS E QSYRXEMR TIEO ER YRI\TPSVIH place, a harsh valley. 4PEGIW SFWIVZIH JVSQ PMXXPI 4EYPYW [MXL ER I]I SR [LEX´W VIEP ]IX [MXL E WTIGM½G destination: a cloud? Maybe the one standing out in our daily horizon. 99
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Aldo Audisio è il direttore del Museo Nazionale della Montagna “Duca degli %FVY^^M² HM 8SVMRS I HIP *SVXI HM Exilles. Per il museo torinese, inoltre, coordina i progetti espositivi-editoriali I P´EGUYMWM^MSRI HM MQTSVXERXM GSPPI^MSRM di documentazione.
Aldo Audisio is the Director of the National Museum of the Mountain “Duca degli Abruzzi“ of Turin and the *SVX SJ )\MPPIW ,I EPWS GSSVHMREXIW the exhibition and publishing projects EW [IPP EW XLI EGUYMWMXMSR SJ MQTSVXERX collections of documents on behalf of the Turin Museum
Giovanni Vannucchi è nato a Siena nel I WM I´ PEYVIEXS MR WXSVME HIPP´EVXI medievale nel 1996. Ha pubblicato diversi contributi su argomenti di storia I WXSVME HIPP´EVXI WY VMZMWXI I ZSPYQM GSPPIXXMZM %XXYEPQIRXI I´ MRWIKRERXI scrittore e blogger.
Giovanni Vannucchi was born in Siena in 1971 and earned a degree in medieval art history in 1996. He has published several papers on topics such as history and art history journals and GSPPIGXMZI ZSPYQIW ,I´W GYVVIRXP] E ³ teacher, writer and blogger .
Barbara Borra, diplomata in pianoforte e laureata in etnomusicologia, è cantautrice e compositrice di colonne sonore. )´ PE ZSGI 4VIQMS 3WGEV .ETER della mainsong Walking on Springtime RIP ½PQ 1IQSVMIW SJ 1EXWYOS HM 8 2EOEWLMQE %XXYEPQIRXI EJ½ERGE P´EXXMZMXk HM QYWMGMWXE E UYIPPE HM MRWIKRERXI in ambito musicale e teatrale nella scuola primaria.
Barbara Borra, graduated in piano and with a degree in ethnomusicology, is a songwriter and a composer SJ WSYRHXVEGOW 7LI´W XLI ZSMGI SJ XLI Academy Award Japan 2007 mainsong Walking on Springtime in the Memories of Matsuko, a T. Nakashima movie. She currently combines the activity of musician with being a music and theater teacher in primary school .
Zenaide Di Blasi laureata in psicologia nel 2003 è una scrittice emergente. Ha partecipato al Premio Letterario “La Giaraâ€? della RAI ERI, edizione 2014, con il suo primo romanzo inedito intitolato 6MžIWWM
Zenaide Di Blasi with a degree in psychology achieved in 2003, is an emerging writer. She partecipated in the RAI ERI Literary Prize “La Giaraâ€?, 2014 edition, [MXL LMW ½VWX YRTYFPMWLIH RSZIP XMXPIH 6IžIGXMSRW
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BIOGRAFIA 2EXS EH %PFE RIP 7EQYIP (M &PEWM WM r HMTPSQEXS MR WGYPXYVE EPP´%GGEHIQME di Belle Arti di Torino. Nel ‘96 espone i suoi primi lavori a Compresenze, Sette Giovani Artisti a Torino, presso la Galleria Piemonte Artistico Culturale. Partecipa nel 2000 alla Summer Exibition presso la Royal Academy di Londra, nel 2002 viene invitato al Terzo 4VIQMS -RXIVRE^MSREPI HM 7GYPXYVE TVIWWS PE +EPPIVME 7ER *MPMTTS 2IVM E 8SVMRS I RIP IWTSRI MR TIVQERIRXI P´STIVE Âą;MPHRIWW² TVIWWS MP 1YWIS H´%VXI Moderna di SatuMare in Romania. (EP EH SKKM TEVXIGMTE E WMQTSWM IH IWMFM^MSRM MR -XEPME I EPP´IWXIVS Vive a Bra e lavora nel suo studio di Bene Vagienna.
BIOGRAPHY Samuel Di Blasi was born in Alba in 1975. He graduated in Sculpture at the %GEHIQ] SJ *MRI %VXW MR 8YVMR -R Âł LI I\LMFMXIH LMW ½VWX [SVOW MR Compresenze 7IZIR =SYRK %VXMWXW MR Turin, at the Artistic Cultural Piedmont Gallery. In 2000 he partecipates at the Summer Exhibition at the Royal Academy in London, in 2002 he was invited XS XLI 8LMVH -RXIVREXMSREP %[EVH JSV 7GYPTXYVI EX XLI 7ER *MPMTTS 2IVM +EPPIV] in Turin and in 2003 he exhibited in the permanent work “ Wildness “ at the Museum of Modern Art of SatuMare in Romania. Since 2003 has been partecipating in symposiums and exhibitions both in Italy and abroad. He lives in Bra and he works in is art studio in Bene Vagienna. .
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DI STAMPARE NEL MESE DI MAGGIO 2015 PER I TIPI DELLA CASA EDITRICE LIZEA ARTE EDIZIONI
© Tutti i diritti riservati / All rights reserved
Spesso osserviamo forme che non vogliono essere descrizione di sé stesse ma essere semplicemente qualcosa che assomiglia a qualcos’altro come l’idea di vedere una nuvola e volerla scalare. We often observe shapes that don’t want to be description of themselves but simply be something that looks like something else, like the idea of seeing a cloud and wanting to climb it.
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