CLICKING ON THE BOOK TITLE IS SHOW PHOTO Matadero "
With Matadero "by John Savino, walks on stage an ancient drama WHERE life and death hold tightly and compassionately Each Other and the" Vucciria "by Guttuso is by now far away in Stylistic exercise.
L ife Being given and Received, executioner and victim, confused screams from the man and the animal, bodies painted in blood, homogenizing the killer and the slaughtered as much as to appear an hyper- realistic illusion, just as if this excess of reality -putting you through an emotional overload- could open the door of ordinary consciousness, leading us beyond, in a state of de-realization, de-personification, of trance, where space and time hang universally: it is today in the Dominican Republic but could well be one thousand years ago in the European middle ages "(...)
"Yahweh is" sweet "smell blood"
(Genesis 8.2)
With Matadero "by Giovanni Savino is staged in an ancient drama where life and death are held closely intertwined and compassionately the "Vuccirìa" Guttuso now seems a distant exercise in style.
life given and received, executioner and victim, confused cries of animals and humans, also painted bodies in the blood that homogenizes pictorially the victim and the perpetrator too much and they seem hyper-realistic outcomes of tricks, as if this excess of reality through an overload emotional, break through the threshold of ordinary consciousness and to lead beyond, in a state of unreality, depersonalization, trance in which time and space are suspended and universal: it is today in Santo Domingo but could be 1000 years ago in medieval Europe .
Ambiguity is always more real and interesting uniqueness, because it allows the movement imaginative, projective, and attribution of meaning for individuals. This so carnal contact with death can be considered so dramatically and unconsciously seductive beyond the need to earn? This applies
experience of the "uncanny", as Freud? The effect
uncanny, now invites the perception, now thinking, now pleasure, now uneasy, for something that is familiar in some way and continues to be elusive, or rather difficult to classify according to the canons of reason.
Freud was rightly dissatisfied with the identification of the term outright strange, horrible, painful or unusual.
"There's no question-asked Freud-that it belongs to the realm of scary, what gives rise to angst and horror, so much so that almost always coincide with what is generally painful. And 'lawful, however, expect that there is a core particular to justify the use of a particular conceptual terminology. What we would like to know is: what is this common core that allows to distinguish precisely, within the framework of anxiety, something uncanny? What is this nucleus particular, he anticipates it once, then move on to illustrate the path Research done to get there, "the uncanny is the sort of frightening that goes back to what is known for a long time, what is family."
There is in fact this family to go / come with bare hands, a nose naked, naked eyes, mouth and ears bare naked inside the body, living death, living and the dead body is detached from the vital spirit in capturing violent rendering all his synaesthesia, its spasms of touch, its sweetish stench, his sinister gurgles and melancholy.
It makes me think of the human need to face the fear of fear. "And 'this is the thing I most fear of fear. It is even more unbearable and annoying death. I do not feel strong enough to withstand the impetuosity of this passion. "(Montaigne, Essays, I, XIX)
The drama is staged in this new film by Giovanni Savino photographic prompts us to question: The good is
a hope and maybe an illusion, as the evil we observe it, practice it, with us in everything we do? We
all the same, because we are all capable of putting to death?
Hobbes continually warns that "as to bodily strength, the weakest it has enough to kill the strongest ..."
The real battle is being fought for self-assertion: the "master" is therefore the one who has the courage to face death in contrast to the "servant" does not want to lose his life and prefers humiliation and yield?
The earth is an immense altar on which the blood must flow to pay the price for sin? In
frightening fantasy that casts the soul with his presence, the slaughterhouse is a terrible and share of what he does, is an accomplice of the executioner: devour, eat meat, drink blood, is a kind of monster, a ghost who seems to live a life of frightening, made up of all the death he caused. (V. Hugo. Misérables 1862).
In a dramatic representation of archaic and mythological / tragic photos of Savino us back to ambivalence, confusion and survival of the roles of torturer and victim, and the slave master, the boss, the sadistic, the murderer is apparently in a position of absolute power because, as Hegel pointed out, needs to be master and servant for this reason the servant becomes the master of the master, the executioner victim the victim and the sadistic servant of pain.
wrote, prophetically, as we all know, George Orwell: "Winston, how does a man to exercise power over another man?" Winston reflected. "Doing suffer," he said. "Bravo, making him suffer. It is not enough that we obey. If you do not suffer, how can we be sure they do not obey our will but yours? Power means to inflict pain humiliation. A world of fear and betrayal, a world in which we tread and you will be trampled upon, a world that becomes increasingly ruthless in perfect ... "
Savino images are metaphors for a condition in which anthropological intersect mythic themes such as violence, the sacred, power, pain, atonement, sacrifice, guilt.
The pathos that holds my gaze riveted on Matadero "reminds me of Greek Tragedy, pain and confusion of the river of blood revenge or cross the sleepwalking Lady Macbeth as a phobic-obsessive compulsively continues to wash their hands Gross blood in the recent murder.
In this scene of blood and pain and the slaughterhouse can breathe an air of ancient "sacred violence."
Violence, said Rene Girard, lights for "mimetic desire," for which everyone wants what they have or others want. The origin of human society there is in fact a sacrificial murder and sacrifice are recognized and sacred divine attributes, just because his killing acts as a means to quell the violence. Downloading onto a scapegoat who opposes violence each to all others, interpersonal conflict subsides and builds the social bond. The sacred is therefore of great value for cohesion and therefore religion is "the feeling that the community inspires its members, but projected out of consciousness to prove it, and objectified."
Sacrifice, takes, "a true work of collective transference that takes place at the expense of the victim and which involves the tension unconscious men. The ritual sacrifice seems based on a replacement "to ward off the violence by certain beings who are trying to protect.'' Some rituals systems replace humans with animals threatened by violence, other systems instead replace them with other human beings because "basically there is no essential difference between human sacrifice and sacrifice animale''diceva Girard. All of the victims" should look like those they replace.''
The sacrifice is thus "an act of violence without fear of revenge,''because you always use people or animals 'is not vindictive'.
requires sacrifice so that there is an appearance of continuity between the victim and the other actually sacrificed human beings to which it is sostituita.Così victim when violence can not download them to your enemy that has aroused, is unleashed, as everyone knows, on a substitute target. The elimination of the victim makes violent frenzy vent from which each was owned until recently and this has an emotional impact on the group incalculable. It becomes sacred in their eyes, their words have power of life and death on the group: is the god. This is the genesis of the religious ritual of sacrifice and particularly as a repetition of the event victimary original, designed to replicate mechanically and inexplicably, the miraculous effects of the myth as a narrative of that event from the point of view the crowd.
How can we forget the lack of difference between butcher and pork, and beef from the butcher, but also between abuser and abused that seem to allude to each other in these pictures, as Savino tells us in his introductory remarks?
the photos of Savino are staged "Nature and Culture", he said Levi Strauss, myth and ritual on the one hand, the other design challenge, progress and ideal stop real time in history: Savino is there in the middle which captures the contradictions real or suspected, ambiguity and ambivalence behind apparent differences as a critical witness, passionate, compassionate, touched, sometimes angry, shocked, but never cynical and detached.
Savino is a lover, both ancient and modern, the pietas and shiny compassionate witness of the Zeitgeist of contemporary style and mortality.
0 comments:
Post a Comment