Three Italians pay homage to Santiago Ribeiro’s surrealism with a video with anthropological implications.
Are they the poet Vincenzo Cali, the journalist Annalina Grasso and the actor Maurizio Bianucci.
Vincenzo Cali, Annalina Grasso, Maurizio Bianucci.
painting by Santiago Ribeiro
The avant-garde as regards the world of current art judges social practice, one of the essential chapters for the development of an art that is aware of its functions. Art as a crucial point of communication means for the individual the growth of his critical spirit within the social stratification.
From this point of view, painting is perhaps the field in which more than all the others the condition of art itself can be noted, which resists by virtue of a tradition for which it is possible to understand it as a cultural and social tool, participating in the context. that we are experiencing. In this sense, the initiative of three Italians is noteworthy. During this lockdown, by disseminating their social culture, they decided to convey a reflection through Surrealism, and specifically that of the international painter Santiago Ribeiro, founder of New Surrealism Now.
Painting in the clear panorama of an avant-garde in the present, intent on studying reality beyond what is apparent, in a certain sense represents the pain of a lost aesthetic; in this painting is imbued with knowledge, which, as noted by the journalist and art curator Annalina Grasso, the A.S.A.S. Vincenzo Calì, and the Roman actor Crocitti Award 2019 Maurizio Bianucci, interpreter among others of films such as Suburra and L’amore a domicilio, as well as numerous theatrical plays and RAI fiction, can suggest a lot about what we are in relation to that that we are facing. The professionals have made a video that at the same time pays homage and questions what Surrealism can say today.
The video made by Annalina, Maurizio, and Vincenzo, merging art, music, acting, and poetry, that Profluvi, written by Calì, acts as a means to implement the so-called heterogenesis of ends, that is, through “the vision of what could be if”, leads us to aspire to something else and to make us increasingly aware of the contradiction between necessity and good and, finding the true foundation of the dignity and value of us human beings, to be neither blind nor naked and wander in perennial uncertainty, but rather appealing to the impersonal that is present in each person to overcome the overcoming of our anxieties and fears. Art with the support of technology helps us to do it, even from a distance.
Santiago’s art was, is, and could still be a vision of the minds of each of us, especially now, where every day we hear words such as lockdown, distance learning, a physical distancing that generate anxiety and stress in us, fear for the future, anguish. What could be inside our minds exhausted by restrictions and at the same time by the fear of contagion? A desire to get rid of the clothes of the decent citizen, of the civil, Christian, rational man, snubbing free will, and following only one’s instinct, the dark side of oneself; confide. Living in society as the Marquis De Sade imagined and hoped for, where there can be no punishments or trials for evil deeds, as man follows what Nature creates and destroys. But Santiago’s surrealism shows this possibility by hoping for another.