garage BENTIVOGLIO

Building a temple, an emblem of eternity, in the form of a tent is a reckless gesture, like that of the two little pigs, hasty to build a shelter for themselves in a short time, to be able to dedicate themselves to leisure. Franco Raggi has always consciously played with the instability of things, which are born with the desire to be perennial, in a world that is by its nature ephemeral and transitory. The Red Tent, his programmatic manifesto, is presented here in its indoor version, as a table lamp. The exhibition is the result of the first two years of investigating the Palazzo Bentivoglio collection within this space, and of how the public uses the window. Passers-by cross the BENTIVOGLIO garage on their right, and so their visual horizon immediately crosses the lower left corner. Many of the installations developed starting from this angle, and then often on the diagonal to the opposite angle, thus creating a circular movement in the eye. The visual power of the diagonal has always been a constitutive element of the history of images, for an architect it is the canonical shadow of planovolumetric drawings, and it has certainly been central to some of my experiments. The effectiveness of his disruptive power caught my eye in a context completely separate from the artistic one, in the change of front that has characterized Simone Inzaghi's Inter game in recent years and that has often passed through Federico Dimarco's feet. “Those who know only about soccer don't know anything about soccer,” is the almost laconic maxim that Manuel Sérgio apparently said to a young José Mourinho. It can be paraphrased if necessary and certainly invites anyone to take a lateral look at their discipline, looking at it from other points of view and seizing new unexpected perspectives. To do like Dimarco, change the front, and send Lautaro to the network.