Paz e l'artista “improduttivo”
Nel film Paz! i personaggi sono tratti dai fumetti di Andrea Pazienza, geniale disegnatore e pittore italiano. Un personaggio, Pentotahl, è l’alter-ego dell’autore. Nel film, Pentothal è interpretato dall’attore Claudio Santamaria. Pentothal è un disegnatore di fumetti sprofondato in uno stato di torpore addirittura atarassico, è un giovane indolente e svogliato, ignavo ed estraniato dal mondo, sempre chiuso in casa con addosso un pigiama. Pentothal è uno studente iscritto al DAMS, Dipartimento delle Arti, Musica e Spettacolo, all’Università degli Studi di Bologna. In effetti, Pentothal rappresenta l’autoritratto di Pazienza, è chiaramente un personaggio autobiografico, come autobiografici sono quasi tutti i personaggi creati dall’estro di Andrea Pazienza.
Nel film Paz! c’è una scena emblematica in cui i compagni del movimento (il contesto del Bologna is the film of 1977) complain of Pentothal be "unproductive" and cries "or become productive or ..." , "you are an artist and you give a damn" , "we the shit that you're an artist ". In fact, Patience, while somewhat 'marginal compared to the Movement settantasettesco, interprets the anxieties, the worries, the rebellions, the contradictions.
But who was Andrew Patience? And what role can the artist in contemporary society? How can the artist contribute to the advancement of mankind?
Andrea Pazienza, who died prematurely in 1988, was one of the most gifted and versatile artists of the Italian comics scene and a prolific author and a remarkable illustration of various kinds. Basically he was a painter provided the comic, so it was a bold experimenter reiterated that the techniques of drawing a sample peerless comic art, an author who has made outstanding school but had no followers because his talent was unique and inimitable.
Andrea was the son of art as his father was a professor of art education and a great watercolorist, while his mother was a teacher of applications techniques. When Andrea began to devote himself to the art of comics could exploit a wealth of pictorial and literary knowledge and a refined cultural background, by applying to the proceedings comic techniques and styles derived from classical and avant-garde, especially the graphic el ' irony of the iconoclastic Dada movement, which was literally struck by lightning, by way of anarchic vision of the world, and art in particular. In early 1977, right at the DAMS, Umberto Eco, having examined his drawings, I pointed out to Oreste del Buono who was then director of Linus, the most important and prestigious Italian magazine di fumetti, che tra i vari autori ha ospitato le vignette di Altan, Angese e Vauro. Ma Oreste del Buono rispose che le sue storie non erano adatte alla testata da lui diretta. Più tardi Andrea irruppe da solo nella redazione di Linus , presentandosi con una serie di tavole a colori che riscossero l’attenzione di Hugo Pratt e il consenso della redazione. Così, sulle pagine del supplemento Alter Alter , nato da una costola di Linus , Pazienza iniziò a pubblicare la sua prima storia a fumetti, Le Straordinarie avventure di Pentothal , in cui si riflette lo spirito del movimento studentesco, non assimilabile a ideologie prestabilite.
Patience has founded and worked with various magazines of the counterculture, underground comics and satire that mocked bourgeois conformity and respectability: think of worship as tested Cannibal , Evil , Frigidaire then Corto Maltese , Comic Art and Orient Express born in the early '80s, as well as inserts satirical Ottovolante additional Paese Sera, Satyricon Republic of , Tango de Unit, and has participated in numerous editorial publications. Among his characters worth mentioning Pentothal, Zanardi , Pompeo ed altri. Una menzione a parte merita Pertini , dedicato alla figura del Presidente della Repubblica più amato dagli italiani per i suoi atteggiamenti informali che si discostavano dall’ufficialità e dai cerimoniali della politica istituzionale. Celebre divenne la copertina disegnata da Paz nel dicembre 1979 per Il Male . Il Presidente in persona chiamò Andrea per congratularsi con lui e chiedergli la copertina in omaggio.
Occorre aggiungere che Pazienza non ha lavorato solo nel campo della nona arte, ossia il fumetto, ma ha svolto un’intensa ed eclettica attività grafica, creating important posters for film and theater (eg the image of the film The City of Women Federico Fellini, in addition, it seems that you would entrust him with the Roberto Benigni film poster The little devil, but the untimely death of 'artist prevented the realization of the project), album covers of Amy Grant, Claudio Lolli, David Riondino, Enzo Avitabile, Roberto Vecchioni, Franz Di Cioccio and PFM, as well as sets, costumes, cartoon illustrations, murals and even for some advertising campaigns.
Andrea Pazienza apparently was lazy. A typical feature of the artists genius is the idle character that does not mean apathy or sloth. In fact, many people confuse laziness with the sloth and indifference, which instead features are detestable. Another very famous and talented artist, a character known to be lazy, it was Massimo Troisi.
But laziness seems to be an almost anthropological Italians. It is undoubtedly a false stereotype of an easy and commonplace, but it seems that Italians are a nation of devoted and tireless graphomania, but they read very little. How do you explain this if not with laziness? E 'is known, and is confirmed by statistics, that in Italy there are more writers than readers. But beyond technical limitations and talents, I do not think it is right to castrate the anxiety community expressed through the use of the written word rather than other-verbal codes. After all this creative desire is also evident in other areas such as drawing, music, theater, photography. How many of us have ventured into one of these camps at least once? Think of the theatrical performances staged at school, activities, graphic and pictorial experience from childhood, to inventions made by pure artistic delight.
The real problem lies elsewhere, namely the relationship between the creative freedom of expression and cultural industry, ie the market economy. Each artist has had to confront his own limitations, but especially with the contradictions inherent in the capitalist system. In a market economy, the money accumulated by selling goods. Well, if a talent is commodified, that is reduced to a commodity, and as such are selling, then it is likely that there are fair chance to earn something, but really just the crumbs are intended to the artist or the writer, unless that it is not Umberto Eco and a few other famous people of culture. Instead, profits are more in the pockets of managers, publishers, owners of the culture industry. In commercial society and mass consumerism, art, cinema, literature, music, goods are bought and sold, are products of cultural and entertainment, they end up on display in shop windows as the Maurizio Costanzo Show television or other media lounges.
In a mercantile aesthetic quality is sacrificed in favor of quantity, as they enhance the commercial criteria, as an artifact that has the ability to sell what it receives in the public acceptance, because it is produced on an industrial scale. The market tends to disparage the works of great value, and giving priority to meet the needs of profit that have nothing to do with the talent, art and craftsmanship.
Temo che se nascesse un nuovo Giotto, un nuovo Michelangelo, un nuovo Leonardo da Vinci oppure, citando personaggi più recenti, un nuovo Demetrio Stratos, un nuovo Rino Gaetano, un nuovo Andrea Pazienza, un nuovo Hugo Pratt, autore di Corto maltese , o un nuovo Bonvi, creatore di Sturmtruppen , insomma un talento straordinario dell’arte, del fumetto, della letteratura, della musica, rischierebbe di finire povero e misconosciuto, con scarse probabilità di essere scoperto e nel caso si riuscisse a lanciarlo sul mercato e a pubblicarne le opere, queste non otterrebbero il meritato premio di pubblico, mentre l’industria culturale continuerebbe a promuovere le solite insulsaggini commerciali.
Nel nostro tempo non c’è alcun margine di azione per il mecenatismo che tenti di scoprire e favorire l’arte e il talento. Nella società mercantile e consumista di massa non si potrà mai sviluppare un nuovo Rinascimento artistico e culturale pari a quello che rese magnifico il periodo tra la prima metà del 1400 e la prima metà del 1500, in quanto non avrebbe l’appoggio degli sponsor, degli editori, dei manager e dei padroni dell’industria della cultura e dello spettacolo, troppo presi dai loro interessi affaristici.
Lucio Garofalo
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