Agostino De Rosa

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Venice is well-known, its identity is so familiar to be considered obvious, summarized as if it were a replicable logo: the city shows its face leaving behind its backbone. Here gold and mud blend together, moulding a multifaceted document. In Venice an endless interchange between real and imaginary, original and fake, tiny and huge, powerful and fragile endures, while we look at the city as a shimmering object. The alter ego of what is well-known and obvious becomes superlative, since it exceeds predetermined standards; furthermore, it represents the inconceivable condensed in the prefix of another language as it is revealed only when one ...
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The sylva returns both as an image, capable of distilling the character of places and the modalities of crossing them, and a reality: forests are advancing in some territories, and the concrete presence of wild and untamed areas within cities is a constantly expanding fact. The two levels of reading of the sylva – the one taking it as a figuration through which to interpret reality and the other analysing it as actual space – require a codification of the tools and modes of inhabiting such an unknown locus. The return of the sylvan marks the return of a new sense of the ‘archaic’, of ...

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