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William Kentridge. Vertical ThinbbBOOKMOBI# !*a%j (MOBI|8$ @EXTH@di+Dall'archivio D'ARS ,Eventi ,MostreWilliam Kentridge. Vertical Thinking

William Kentridge. Vertical Thinking

“I’m interested in machines that make you aware of the process of seeing and aware of what you do when you construct the world by looking. This is interesting in itself, but more as a broad-based metaphor for how we understand the world.” — William Kentridge1

The Refusal of time, 2012
Still da video

Disegnatore, scenografo, regista, videoartista: William Kentridge  è un artista che rifugge le classificazioni e attraversa pratiche e linguaggi differenti per reinventare il mondo e coglierne la miriade di sfaccettature attraverso i frammenti offerti e colti dal suo occhio attento e curioso. In questo percorso di decomposizione e ricomposizione delle forme, iniziato nella metà degli anni ’70 (a quell’epoca risalgono i suoi primi lavori pittorici), l’artista sudafricano si affida a media diversi per trasformare la sua visione in immagini codificate e intellegibili dal pubblico; le mostre figurative sono spesso accompagnate da performance musicali e/o teatrali che ne esaltano la produzione multimediale. Nel 2011, in occasione di “William Kentridge&Milano” (13 Marzo – 3 Aprile 2011, Palazzo Reale, Milano) la proiezione delle opere presso la sede espositiva era affiancata da una performance musicale e uno spettacolo teatrale. “Kentridge a Roma” è un progetto che ripropone il binomio esposizione – esibizione: per la prima, il MAXXI  ha ospitato la mostra “Vertical thinking”  (17 Novembre 2012 – 3 Marzo 2013), mentre per la seconda il Teatro Argentina ha messo in scena “Refuse the hour”. (vedi articolo successivo ndr)

The Refusal of time, 2012 Still da video
The Refusal of time, 2012
Still da video

Salendo all’ultimo piano del museo di arte contemporanea romano progettato dall’archistar Zaha Hadid, entro in una prima scatola magica per assistere alla proiezione de “Il flauto magico”, realizzato nel 2006 con la tecnica delle silhouettes per la scenografia dell’opera di Mozart. In un’altra stanza vedo la proiezione del video “Zeno writing”, opera del 2003 ispirata al romanzo di Italo Svevo e in cui le tematiche della prima guerra mondiale si confondono con i drammi dell’apartheid sudafricano; le canzoni degli alpini sono memori delle battaglie sul fronte veneto, mentre le immagini che scorrono materializzano personaggi appartenenti al mondo africano. Sulle pareti della galleria, bozzetti e disegni impiegati nei video sono accumulati per smascherare i trucchi del mestiere di Kentridge, estremamente “artigiano” nella sua pratica creativa, rimandando ai primordi dell’animazione cinematografica. Ma vero motore e cuore della mostra è “The refusal of time”, l’installazione mastodontica dell’ultima stanza che a livello uditivo mi ha catturata fin dall’ingresso in galleria. Presentata a Documenta 2012, “The refusal of time” è una gigantesca macchina di rumori e visioni: entrata nella sala, sono avvolta a 180° da cinque schermi, al centro c’è la “macchina che respira” – come la definisce l’artista stesso –  una infernale struttura meccanica di legno che batte il tempo trasformando il corpo nella cassa di risonanza del tempo esterno fino all’interiorizzazione. Posso restare in piedi, sedermi sulle seggiole (non possono essere spostate: alcuni segni indicano la precisa collocazione sul pavimento) oppure percorrere la sala, ma in qualsiasi posizione io mi trovi, faccio viaggiare lo sguardo: ognuno degli schermi proietta un frame non esattamente identico e non totalmente differente da quello che gli è adiacente; nelle cornici posso vedere il frame consecutivo a quello della cornice contigua; posso vedere il frame precedente oppure lo stesso ma da una diversa angolazione; altrimenti, gli schermi possono comprendere un’intera sequenza, laddove l’azione non si svolge in un’unica cornice ma nella successione delle cinque (per es. l’artista che cammina in una camera passando da una cornice all’altra). L’opera narra in maniera scomposta e visionaria la storia di adulterio di una giovane coppia, la storia di alcuni maghi, la vita degli schiavi e la festa di alcuni africani al ritmo delle musiche e dei balli tipici.

La curatrice di “Vertical Thinking” Giulia Ferracci ha focalizzato sull’oscillazione dei linguaggi valorizzando i legami invisibili che strutturano la fenomenologia di William Kentridge: teatro, disegno, scrittura e cinema sono i mezzi per mostrare cose che ci sono ma non si vedono oppure per mascherare oggetti e situazioni che possono essere altro da sé. È l’aspetto poietico dell’arte, la capacità creativa, che, per il mezzo qui scelto, richiama ad uno dei maestri cui più volte Kentridge si è espressamente ispirato: George Méliès. La scomposizione dell’immagine, il trucco per affascinare e catturare lo spettatore, il fantastico come elemento consustanziale dell’opera, il magico potere ammaliatore delle immagini: tutte queste caratteristiche ritornano dopo il lavoro “7 Fragments for George Méliès” del 2003, omaggio diretto ad uno dei padri del cinema, per approfondire la particolare dimensione del tempo che si espande e contrae, senza una logica predefinita ma modificando le percezioni interiori dell’uomo. Per Kentridge l’oscillazione tra il palcoscenico dell’arte e quello della vita è conditio sine qua non per reinventare il mondo e far riflettere sulla riproducibilità del visibile, oggi sempre più consistente e da cui non si può prescindere per una piena comprensione del modo in cui si struttura il reale. La realtà è composta da più frammenti e Kentridge ne ha un campionario ricchissimo, come testimoniato dagli elementi di corredo, dai  video e da tutti gli elementi che si accumulano uno dopo l’altro per associazioni invisibili; ogni singolo frammento ha una valenza nuova e quindi una forza intrinseca che l’artista conosce e reimpiega per creare una nuova immagine. L’efficacia di “The refusal of time” consiste nella capacità di realizzare quel cinema a 360° teorizzato quasi un secolo fa da Abel Gance: un’opera sinestetica che penetra nel cervello dello spettatore fino a modificarne la percezione sensoriale. (e.c.)

“Vertical thinking è un modo di pensare il paesaggio. Johannesburg, la città dove vivo e dove nasce il progetto, ha una raison d’être geologica. Non si trova su un fiume o su un porto o vicino a delle montagne, ha a che fare con l’oro sottoterra e , per arrivare a quell’oro c’è bisogno di un’azione e di un pensiero verticale. Ma Vertical Thinking si riferisce anche al fare film, perché il rullo della pellicola, attraverso la telecamera, accumula immagini in senso verticale.” — William Kentridge2

1 -“Sono interessato in macchine che ti fanno accorgere del processo di visione e ti sensibilizzano nei confronti di ciò che fai quando costruisci il mondo guardando. Questo è interessante di per sé, ma soprattutto lo è perché è una metafora ad ampia base di come noi comprendiamo il mondo.”- William Kentridge

2- tratto dal video di presentazione della mostra “Vertical Thkining”: http://www.fondazionemaxxi.it/2012/08/07/william-kentridge-vertical-thinking-en-william-kentridge-vertical-thinking/

 

Elena Cappelletti

D’ARS year 53/nr 213/spring 2013

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