CITTÀ DI G. OVVERO GIORGIONESCA (2019)
How can art history interact with our contemporary world? What would it be a better way of having art into life of common people?
He appears to us more myth-like than human. The destiny of no poet on earth is comparable to his. All concerning his life is unknown; some even go so far as to deny his existence.
G. D'annunzio, The Flame (1907)
The most accurate reality about Giorgione is his unreality. The only certainty we have about him is that nothing about him is certain. In this sense, he belongs to that category of artists who verge on figures of heroes.
V. Lilli, Mito e laicismo di Giorgione, in L'opera completa di Giorgione. Rizzoli Art Classics. (1st ed. 1968)
He is a central figure in 16th century Venetian painting and art history in general, but the life and work of Giorgio da Castelfranco, better known as Giorgione, are shrouded in mystery. While research into his life and the attribution of many works to him is still in progress, there is no doubt that Giorgione actually existed and in some way or another he still does today.
In Castelfranco, he exists in depictions, places and in a name. He has become an identity symbol, an historical and literary myth (and as such bears the burden of meanings that are attributed to him far from historical facts and sometimes incorrectly), and a hallmark. The figure of the artist and his works have spilled out from the art world to the realm of local history, the creation of a citizen identity and local marketing.
By reading them through the filter of his poetics, his production, and certain pieces of his work, this series examines the way in which the figure of Giorgione and his work are being transformed into a topical subject and absorbed into public imagination and the city of today.
The project was realized in the frame of Beauty artist residency for OMNE–Osservatorio Mobile Nord Est, curated by S. Rossl and M. Sordi, in Castelfranco Veneto.
It is part of Beauty publication, edited by Skinnerboox.