IN ARCHIVIO

RO-MAT TRANSUMAND

June 20 > July 14, 2018
"Le Erinni (according to Jean-Paul Sartre)" - Alfredo Pirri (Cosenza, 1957)
 
La Pelanda, Teatro 2
free entry

The staging of 50 dresses selected from the collection of the National Academy of Dance and fifty drawings on photographs for a children's sound book, is part of the project promoted by Roma Capitale - Department for Cultural Growth and Azienda Speciale PALAEXPO, within the RO-MAT TransumAND event, a travelling exhibit of the historical costumes of AND along the path of the “tratturo”. The installation, by the artist from Cosenza, is the first of the eight stages of this itinerant project that will involve a total of eight artists; after Pirri, in fact, we continue the journey with fifty dresses chosen among the many who made the history of the National Academy of Dance between 1935 and 1968 with Luigi Battisti at the Museo Munda de L'Aquila, Giuseppe Stampone at the Theater Comunale di Teramo, Matteo Fato at the Museum of the Abruzzo People of Pescara, Eugenio Tibaldi at the Sannitico Museum of Campobasso, Bianco-Valente at the State Archives of Benevento, Marco Neri at the Teatro Giordano of Foggia, and finally Marco Schaufelberger at the Ridola Museum of Matera, capital of culture 2019.
 

The Ro-Mat TransumAND project originates with the aim of enhancing the artistic activities that characterize the Institute founded in 1948 by Jia Ruskaja, as well as its rich cultural heritage. The aim, however, has also been to extrapolate historical costumes from their context and render them protagonists of a new "scene", signaling a reformulation of meaning that lives between the past, as a testimony and in the present, as an object part of a whole able to adapt to new spaces. Pirri, in particular, has chosen to stage his work inspired by the theatrical work "The mosques" of 1943 written by the philosopher Jean-Paul Sartre and staged in the same year in Paris in full Nazi occupation.
 
In the exhibit, the artist is inspired by the Erinni, annoying and insistent female figures, which represent that feeling of remorse that constantly persecutes those who are stained with crime in relation to relatives close to them and thus stages a landscape of ruins that evokes a drama, perhaps already happened or that continues to happen, represented through the use of fifty costumes. This installation is flanked by fifty panels realized with oil pastels on photographs of the costumes taken in the Teatro Ruskaja of the AND in Rome, placed at the height of the eyes of a hypothetical child; the drawings animate the inert costumes, filling them with life and dramatic tension, alluding to bodies made only of light and dancing energy that turns into an explosion of colors and Dionysian strength.