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Journal of Italian Translation Journal of Italian Translation Editor Luigi Bonaffini Associate Editors Gaetano Cipolla, Michael Palma, Joseph Perricone Editorial Board Adria Bernardi Geoffrey Brock Franco Buffoni Barbara Carle Peter Carravetta John Du Val Anna Maria Farabbi Rina Ferrarelli Luigi Fontanella Irene Marchegiani Sebastiano Martelli Adeodato Piazza Nicolai Stephen Sartarelli Achille Serrao Cosma Siani Joseph Tusiani Lawrence Venuti Pasquale Verdicchio Justin Vitiello Francesco Marroni Journal of Italian Translation is an international journal devoted to the translation of literary works from and into Italian-English-Italian dialects. All translations are published with the original text. It also publishes essays and reviews dealing with Italian translation. It is published twice a year: in April and in November. Submissions should be both printed and in electronic form and they will not be returned. Translations must be accompanied by the original texts, a brief profile of the translator, and a brief profile of the author. All submis- sions and inquiries should be addressed to Journal of Italian Translation, Dept. of Modern Languages and Literatures, 2900 Bedford Ave. Brooklyn, NY 11210 or [email protected] Book reviews should be sent to Joseph Perricone, Dept. of Modern Language and Literature, Fordham University, Columbus Ave & 60th Street, New York, NY 10023 or [email protected] Subscription rates: U.S. and Canada. Individuals $25.00 a year, $40 for 2 years. Institutions $30.00 a year. Single copies $15.00. For all mailing overseas, please add $10 per issue. Payments in U.S. dollars.Make checks payable to Journal of Italian Translation. Journal of Italian Translation is grateful to the Sonia Raiziss Giop Chari- table Foundation for its generous support. Journal of Italian Translation is published under the aegis of the Department of Modern Languages and Literatures of Brooklyn College of the City University of New York Design and camera-ready text by Legas, PO Box 149, Mineola, NY 11501 ISSN: 1559-8470 © Copyright 2007 by Journal of Italian Translation Journal of Italian Translation Editor Luigi Bonaffini Volume II, Number 2, Fall 2007 In each issue of Journal of Italian Translation we will feature a noteworthy Italian or Italian American artist. In the present issue we feature the work of Ettore Frani Ettore Frani, disjecta membra, un riesame. Svuotata di qualsiasi sostanza, lacerata dalla moltiplicazione delle tendenze, agli inizi del primo secolo, l’opera d’arte cerca un “corpus universalis” da offrire alla nostra attenzione. Si tratta di riconsiderazioni dei processi avvenuti che si sciolgono in una sorta di memoria contemporanea incapace di offrire struttura maglia ordito per poter rivitalizzare l’archivio quantistico e qualitativo delle immagini che le vengono assegnate. Si tratta dei nuovi archivisti che continuano freneticamente la loro attività di collocazione esponenziale degli input demografici: memoria soggettiva e memoria collettiva raschiata continuamente dall’ assalto fantastico e artefatto della tecnologia sincronica che consuma, ad usura, le sinapsi comunitarie senza la prevenzione del ricambio rigenerativo, senza previsione semantica della metodologia di difesa dalla luce inquinante del tubo catodico. È la riconsiderazione dei nuovi assetti, ricerca della “ricoscienza” degli atti; una sorta di inizio utopico che muove i primi passi verso una nuova realtà mentale, una nuova scienza museale del “presente- presente” e che contiene, nel proprio midollo, la ricerca della verità e la volontà del riconoscimento agli elementi salubri per le connessioni disciplinari che si propongono, a getto continuo, ma che mancano di metodi e di accordi per ordinare e ritualizzare in un sistema adeguato, il nuovo mondo che ci chiama a vivere. Si tratta di memoria contemporanea priva di statuto, senza frontiere, dove i suoi mezzi espressivi e le relative finalità, abituate dalla storia al regime imperioso e all’ imponen-za riconosciuta senza verifica, diventano qui, al contrario, tanto più sistema esitante inesperto e incapace di fronte alla nuova necessità espressiva di doverla raccogliere, conservare, esporla e spiegarla. Tramontata la speranza post modernista, osservatore e oggetto emanante crollano in un apparato ambientale che si mostra tanto più pesante e imperativo quanto più ambigua è la natura stessa dell’oggetto. Cemento diffuso acciaio vetro macchinari ingegnosi e inutili, divinazione del superfluo, carta e manifesti, scritture murali e criptiche analisi di ogni tipo, vecchi e nuovi monumenti come sacralità consumistica sono gli elementi divorati dallo sguardo dell’anima di Ettore Frani. Strumenti della contemporaneità fermentante addetti alla riqualificazione di un passaggio mentale e epocale che si svolge e si denota tra anime della rappresentazione del paleolitico e geometria discorsiva del pensiero evolutivo e destinale, diretto, o votato per indole, alla funzione scenica e apparente che prende forma di indice di un passato storico attualmente presente nella magia del nomadismo evolutivo incarnato dal futurismo avvenente del neolitico. È il tentativo per la consacrazione di una nuova gnoseologia connaturata oltre il confine della cornice, oltre le “significanze” possibili urlate dalla grana della voce del simbolico. È la potente efficacia degli atti di poetica contemporanea infilati e cuciti dalle nuove induttive volontà planetarie codificate dalla superficie di formule evasive, che adesso si espande per accolta “sinestesia” disciplinare, anche dai fenomeni epistemologici e dalla storia della fisica che nel secolo scorso costruiva macchine sempre più grandi per osservare fenomeni sempre più piccoli. La ricerca di Ettore Frani ci riporta nel qui e ora. Punta lo sguardo sulla velocità statica della contemporaneità. Muove il fotogramma fisso dell’immagine creata superando in accelerazione la meccanica cinetica e rende la complessità che “involucra” il pensiero collettivo azione riflessiva del racconto senza invasione di campo, con umile segno che traccia stimoli per significazioni aperte: una fabula semantica di antico lignaggio oscillante tra Adorno, Ben- jamin ed Eco. E così noi che guardiamo, forse noi che ascoltiamo le immagini “fabule” delle opere di Frani, ci ritroviamo dentro un sistema polare altamente energetizzato che accompagna la crisi del pensiero estetico simile alla crisi del pensiero scientifico apertasi con l’enunciato delle rela-zioni di incertezza. Quello che Duchamp, in età avanzata, aveva sintetizzato con una battuta che come sempre nell’intelligenza dello scacchista prevedeva euristicamente ogni possibile avvenimento tra i quadrati bianchi e neri dell’ eventualismo umanitario: «Ce sont les regardeurs qui font les tableaux». L’intervento dell’osservatore della “vecchia modernità”, soprintendeva alla storia, alla teoria o alla critica costituendo, allora, il senso di una sottile forma endogena già in manovra di modificazione dell’oggetto perché l’unica immagine possibile, in questo avanzato pensare, non premetteva alla vitalità dell’oggetto artistico, ma enunciava, come li enuncia adesso la ricerca meta- estetica di Ettore Frani, la sensibilia sottesa nei nuovi rapporti connettivi tra oggetto che esprime e coscienza qualitativa dell’osservatore. Ettore Frani ribalta l’insieme con la semplicità della sensibilizzazione. Tema universale tra immagine del dolore che fossilizza la sensazione, la partecipazione “nel durante”, senza possibilità di revisione. L’attimo centrato emana il piacere di esistere cogliendo i frammenti che si combinano non nel genere o con la catalogazione, ma con la casualità della vicinanza, della prossemica sentita: frammenti di cemento fossilizzati con piccole sostanza organiche, frammenti carnali e pietre, polvere e carte, memorie visioni atti della gioia e della disperazione, oblomovismi urbani, tutto attaccato in un figurativo che si scioglie tra bitume cenere e olio riconoscibile per segno, ma accettato solo per sensibilia ambientale ed ecomusealità della cultura. È arte di passaggio smossa da chi in quel determinato momento si incontra con l’immagine sottratta da Ettore Frani alla disorganizzazione cosmica e riproposta alla percezione di chi in quel solo momento si concentra sull’opera divenendone parte integrante. Questa arte ci introduce nel sistema fossilizzato degli elementi casuali che compongono la memoria espressiva di un’opera automatica, costruita con potenzialità vigorose che riscattano tanto i modernisti quanto i performativi per dare, in un segno “federiciano” significante, il corpo supportante ad una sorta di “Body Art dello spirito” che ironizza tanto con il romanticismo tedesco e i suoi derivati, quanto con l’incastonato cyber pank newyorchese e anglosassone. L’albero è sempre elemento simbolico della rinascita, ma anche referente comparabile tra gli scorci urbani e i sentieri immaginari dove a volte la visionarietà creativa dell’artista ci conduce smembrando tutti i nostri involucri protettivi impiantati per un mondo natura e un mondo artificio che ricomincia da qui a risoffiarci sul collo come una danza che impone il movimento anche nella staticità modellare di chi guarda. È una freccia per ricominciare a muoverci. Tanto è quanto Frani urla tra le mura della degli atelier o delle gallerie che lo espongono. L’urlo delle città che reclamano vita e dignità attraverso i nuovi linguaggi,umili e superbi,dell’arte. Antonio Picariello The cover page features a painting by Giulia De Filippi, an artist who lives in Isernia, Italy Journal of Italian Translation Volume II,
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