FURIA AVICOLA

Furia Avicola _ foto Giovanni Chiarot

by Rafael Spregelburd
translation Manuela Cherubini
Director Rafael Spregelburd and Manuela Cherubini
Rita Brütt, Fabrizio Lombardo
Luisa Merloni, Laura Nardi, Amândio Pinheiro
Video Igor Renzetti
images Ale Sordi
original music Zypce

“As part of the Ecole des Maîtres worked with a group of actors from four European countries to the creation of a show called The end of Europe. The Babel of our languages ​​c’istigava the formulation of questions about identity, belonging and the concept of end. The show Furia poultry is one of the drifts of this path, and brings with it, transforming and renewing them, those questions, generating new ones, along with some re fl ections. ” So tell Spregelburd Rafael and Manuela Cherubini their show was staged at the Teatro India in Rome. A perfect and fun image of our time, a framework intact and messed up a disarming schizophrenia; the end of art, mirror and martyr of this crisis irreproducible. The story starts from something that really happened in the not so distant 2012 when Cecilia Giménez, parishioner eighty-one and amateur painter without any qualification or experience in restoration, takes on her own initiative to put his hand to a work of art obviously ruining it. It is Ecce Homo Spanish artist Elías García Martínez, a twentieth-century wall painting that is in the Spanish town of Borja. The news that had the fresco as a victim of an act of vandalism had a strong media success and passed shortly after the major Spanish newspapers, making the work, not previously known, internationally renowned.
“The truth does not exist, for the simple fact that we are given only in the delirium of language to name things and do not know.” He said Carmelo Bene, and makes us think about the impenetrable surface of the art, the explanations vain and meaningless that the text Spregelburd delights to ridicule. And from here a succession of dramatic genius and manic operations by the mysterious effects, as a by-play on the prophetic gilded twilight of an era now culturally tired.

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