AXIS MUNDI TRILOGY
The Axis Mundi indicates the notion of "Axis of the Universe" present in different religions and myths both Western and Eastern, from Asian populations to American Indians, there are several areas that have the function of Axis Mundi, or rather the function to connect Heaven, Earth and the Underworld. These symbols, so heterogeneous among themselves and yet so unique in their meaning, imply a vision of breaking the plans of existence to see life under other possible angles. The choice to name the trilogy “Axis Mundi” is related to the theme of the life journey of each individual - from birth to death - which can be extended to the idea of time that flows and therefore to that of universe, of transience and of the constant attempt to approach the idea of infinity.
MATER – BIRTH
By mother we mean any female parent and by extension the female parent of any animal species, she is the reference figure for the first years of our development as human beings, because she takes care of us and gave us the first "rules" of our get by in this world. In addition, mammals physically come out from her body and there is therefore an archaic physical relationship with the mother's body.
Mater is a reflection on the topical moment of our coming into the world, that is, of the moment when everything begins through a break, the breaking of the bag of amniotic fluid that "forces" us to leave the body in which we began our existence. This moment is traumatic and it is symptomatic that to cause it is a "break" a "gash". The work is linked to a memory of my childhood, I was 5 years old when my brother was born, a few days after the great Irpinia earthquake, and my relatives made me sleep in their bed to be ready for any eventuality. That night my father was still watching TV when the sound of an exploding water balloon and the sensation of hot water on my feet were the warning that my mother's amniotic fluid bag broken and my brother was born. So in my head that sound remains forever like the sound of birth, perhaps the sound of the mother of all births, the Big Bang of which we have no chance of experience. The work is the action of a young woman who, wrapped in a black space, inflates a white balloon containing water until it explodes "throwing the echo of that generating explosion" into the air.
PARCAE – LIFE
In Greek mythology the Fates - daughters of Jupiter and Justitia - preside over the destiny of mankind. They were three: the first spun the thread of life; the second dispensed destinies, assigning one to each individual and establishing their duration; the third cut the thread of life at the appointed time. Their decisions were immutable: not even the gods could change them. They were also called Fatae, or those who preside over Fate (from the Latin Fatum or "destiny").
Parcae is a reflection on the unfolding of life through a video featuring a spool of string. During its progressive releases (which takes place during the video) our gaze is captured by its hypnotic movement, life flows inexorably in the movements of the string, ever faster, more and more chaotic, a female voice narrates a fairy tale, especially wrote by an Italian young novelist, Leo Merati, intersecting with the thread of suspended memories of our existences.
LA DANSE MACHABRÉ – DEATH
Western contemporary society has increasingly distanced the idea of the end, of the transience of life; we have moved from the "right to happiness to the duty of happiness" (Slavoj Zizek). The macabre dance is an allegorical representation that born, originally in the form of a dance, in the late Middle Ages in northern Europe (the first depiction of a macabre dance is found in Paris at the Cemetery of the Innocents and is dated 1424). The dance consists of a series of characters that represented the various social categories of that period that dance with death, depicted in various ways, but more commonly as skeletons, to remind mankind of the useless vanity of things in life. It is a real memento mori (remember that you must die) who had to "educate" mankind about a balanced life. Over the centuries this iconography has been used in many fields of expression, from art to cinema, to music. In particular, in 1874, Camille Saint-Saëns composed the “Danse macabre”, a short symphonic poem that began as a chanson (voice and piano) and was subsequently instrumented.
The Danse Machabré is a reflection on the transience of life through the iconography of the macabre dance, the performers dance among themselves and with a skull (recalling the iconographic presence of death represented by a skeleton in the various representations of macabre dances in Europe) that becomes the protagonist who governs their relationship. The music, on whose notes the performance takes place, is an original composition by an Italian musician, Francesco Crovetto on the original “Danse macabre” by Camille Saint-Saëns specifically written for the video. The macabre dance is at the same time memento mori and physical affirmation of our existence, of the flesh, the sweat, the rebellion to our own end.