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"In the empty glass look, ride the mattin

With all her teeth sparkling blue,

Yellows, Greens and reds, balconies you lull the curtains.

Girls from naked arms stretch cloths.

A man; behind a window, binoculars in hand.


Morning clear from marine enamels

Latin glosses from liliali gem:



"Mediterranean" by Albert Camus

Albert Camus, through his poetry, reveals the reality of a sea that brings with it a huge historical baggage, scents, colors and traditions. But when the word is pronounced Mediterranean instantly think that intercontinental sea located between Europe, Africa and Asia and, according to historiography, is traditionally considered, along with the Near East and Middle East, the cradle of Western civilization from the ancient world.

Mediterranean means much more than that.

Mediterranean is a journey through time and space that accompanies it, each of us, through an inner journey exteriorized from art, a sort of common thread with what surrounds us. In this ideal location attended by Italian and international artists using the photographic, sculptural and pictorial language.

The exhibition, to which they have adhered, "Mediterranean – the doors of hope or of shame" has as its main objective the making known the various nuances of this theme which starts from ancient times to the present day, where the issue of immigration is affecting quite strongly in everyday life and in our way of thinking. Art becomes a vehicle of ideas with the aim of provoking strong emotions in the spectator. A simple input to the historical, geographical, literary or artistic reflection. The protagonist is no longer the artist but the artwork because it appears that way of being, of feeling and expression through a tale more verbal but of images constituted Kunstwollen (will) that stems from the conditions of social life and cultural life, present in every age, determining the taste and artistic events.

We think for moment to the Mediterranean as a natural person sitting in front of us and starts to reveal his history, civilizations that has known, battles which saw, the mythological tales that cheered his days. Eternal is eternal … how are prints that leaves on the sand and in his endless journey has known the beauty and pain of men. "The Mediterranean has its own tragic solar is that of mists. On certain evenings, the sea, at the foot of the mountains, falls the night on the perfect curve of a small Bay and then rises from silent waters a distressing sense of fullness. In these places you can figure out how the Greeks spoke of despair only through beauty and how it is oppressive. Golden tragedy comes to Supreme in this unhappiness[1] "because it is a" hinge between two other powerful symbolic poles, East and West, the Mediterranean is always so ready to soften their borders into those of one or the other, which sometimes seems about to get sucked into it, to become part of one or another symbolic building. And yet it remains the Mediterranean, not all East nor the whole West. [2]"

The Mare Nostrum becomes a page flip book ideal and the audience, reading its endless pages, begins to count the reality sometimes silenced or distorted. It doesn't matter what origin or culture belong a person, the important thing is to get to an evocative idea, expressed symbolically where they weave hopes and illusions, passions and interests, past and future; a kind of knot mingling constraints, relationships, feelings, stories and destinies as an ideal rug where everyone puts his signature.

[1] A. CAMUS, Elena's exile (1948) in the summer, the Italian Edition of "literary essays" (2nd Edition 1960), editions Bombiani, translation of Sergio Morando.

[2] A. SIGNORELLI, Afterword to the anthropology of the Mediterranean, 2007, p. 327. it. of The anthropologie de la Méditerranée, 2001

About Mariangela Bognolo

Artistic director Retetop95, curator, historian and art critic.

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