Schuld

(dyptic)
installation, photogravures on paper, international banknotes, wood, glass and metal
variable dimensions
+
cyanotype on paper, bamboo, leather
cyanotype size: 285 x 145 cm
2019


Realized with the support of Arteco, Torino, Italy

Releted works:
Taking the Shadow of an Obelisk and letting it dissolve into the Sea
→ Miracolo da 50 punti
→ Memento Park
→ 30 x 30 x 30


EN


The work Schuld is a diptych consisting in a cyanotype and a series of photogravures that seem to refer to archaeological ruins from Mediterranean countries (Greece, Turkey, Lebanon, Syria, Libya), showcased following a traditional taxonomic display. Accompanying them are the international bank notes they are taken from. Antiquity becomes a metaphor for a past era in which the political-cultural unity of the Mediterranean was defined by the conquering ambitions of the Roman Empire. At that time, propaganda was already examining the symbols that could be used to build a shared identity that is now long gone.

In Schuld (cyanotype), a large blueprint introduces the viewer to a scene from the second edition of the film Beneath Planet of the Apes, in which the neoclassical pediment of New York Stock Exchange towers like an archaeological ruin at the feet of the main characters. This work, held up by an ephemeral freestanding support made from bamboo reeds, foretells the decline towards the Anthropocene geological era that our society is experiencing. In this case, too, the stereotype of the classical ruin dominates the scene, representing a highly semantic device that allows us to recognise and identify ourselves.*

* Beatrice Zanelli, extract from: Present Archive, reflections from a collection of prints. Publication curated by Arteco; A+M Bookstore and Viaindustriae Publishing, 2019.
IT


L’opera Schuld è un dittico composto da una cianotipia e da una serie di fotoincisioni, apparentemente di ruderi archeologici afferenti ai paesi del Mediterraneo (Grecia, Turchia, Libano, Siria, Libia), disposte in una teca, seguendo un tradizionale display tassonomico; a corredo di esse vi sono le banconote internazionali dalle quali sono tratte. La classicità diventa metafora di un’epoca precedente, in cui l’unitarietà politico-culturale del Mediterraneo era stabilita dalle ambizioni di conquista dell’Impero Romano. In tale epoca la propaganda già indagava i simboli di cui servirsi per la costruzione di immaginari condivisi, oggi ormai così lontani.

In dialogo, Schuld (cyanotype), una grande stampa in cianotipia, conduce lo spettatore in uno scenario tratto dal film L’altra faccia del pianeta delle scimmie (Beneath the Planet of the Apes, 1970), nel quale il frontone neoclassico della Borsa di New York troneggia sotto forma di rovina archeologica ai piedi dei protagonisti. L’opera, retta da un effimero supporto autoportante, realizzato in canne di bamboo, anticipa il declino verso l’era geologica dell’Antropocene che la nostra società sta vivendo. Anche in questo caso lo stereotipo della rovina classica domina la scena, rappresentando un dispositivo di alto valore semantico che permette all’uomo contemporaneo di riconoscersi ed identificarsi. *

*Beatrice Zanelli, estratto da Present Archive, riflessioni a partire da un fondo di stampe. Pubblicazione a cura di Arteco; A+M Bookstore edizioni e Viaindustriae Publishing, 2019.




Postcards with view on Tempio della Minerva in Assisi (Right) and on the New York Stock Exchange (left).
Super 8 case of Beneath of the planet of the Apes, directed by Ted Post, film plot by Pierre Boulle, USA, 1970



Schuld (photogravures) Syria, 2019






Schuld (cyanotype), 2019



Schuld (photogravures) Turkey, 2019

 
Schuld (photogravures) Greece, 2019 


Schuld (photogravures) Libya, 2019


Schuld (photogravures) Lebanon, 2019 

Installation and exhibition views at Schuld, solo show curated by Beatrice Zanelli and Arteco, Palazzo Frichignono, Torino, 2019

Photographs by Francesca Cirilli