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Fenomenologia di un’opera d’arte “totale”


Phenomenology of a work of "total" art The Italian memorial at Auschwitz From the first project idea, the initiative ANED for the construction of a Memorial was aimed to tell the tragic story of the Italian deportation, and had founded in the potential of art the most suitable tool for the construction of memory. The Memorial was configured as a true work of total art, coincidence of intention and perfect synthesis of the various arts in compliance with the same program: a choral work, work of artists and intellectuals who, each in its own jurisdiction, had composed it like an "organic" system in the deep sharing of the ultimate meaning of the thinking and doing. Starting from these premises, this Memorial, in its design and construction, takes upon itself a powerful charge symbolic and emotional and, to a specific reading from the point of view of the "phenomenon" (ie deliberately partial and emotional), it may suggest further spaces for reflection on the nature of the opinion of "irrelevance" that someone recently has attributed to it, but that certainly can not be understood as an opportunity to undertake a removal or a easy distortion of this work. The attitude of reduction that permeates the whole work, leading her to a few gestures, a few signs, sees the essentiality as the meeting point between the speakable and the unspeakable and it looks for a primordial space that, if you will, expresses the state of poverty and deprivation of the deported, but that is mainly the sign of a strict approach and a shrewd direction, where only to the necessary is allowed to find a place by showing that, even from this point of view, how this memorial deserves to maintain its place among the most significant products of the art and contemporary thought.