“…there are ten, twenty or a hundred Mediterranean seas.
Around the Mediterranean there are not two places that are the same. Sicily, rather than combines the fragments together, split in two the Mediterranean. North against South, East against West.” [Fernand Braudel The Mediterranean in the Ancient World, The Penguin Press, London 2001 (f.p.1998)]
Two diagrams, installed in the outdoor spaces of the Radicepura Foundation, used to catch “impressions” like a photo-camera. Thus, their outcomes arranged – installed – inside the Radicepura Foundation’s venue.
The diagrams represent four Mediterranean areas, North/South and East/West. They are thought to be relational devices that let visitors interact with the Radicepura spaces; also, they are a tribute to the XX Century photographic social tradition of the physiognomic investigation such as that of the great German photographer August Sander.
(from the exhibition The plural always outweighs the singular, Radicepura 2018)
Diagram #4 (Gazebo) is a composition of four pavilions placed on the gardens nearby the Glasshouse of the Radicepura botanical park. Each pavilion’s roof with a different primary color, together they recall the communication campaign and image of the Premier League: the most popular national league of the most popular sport in the world. A real Photo-Booth (reminiscent of Franco Vaccari’s Live Expositions), built to let Radicepura visitors dive in the colors of the globalization, although amplified by the Mediterranean summer light, and be part of a video catalogue (Story) of a multitude of self-portraits (Selfies).
Diagram #5 (Garden) is a squared flowerbed, divided into four areas by two intersected metallic bars, that match with the glasshouse’s architecture, the congress hall of the Radicepura botanical park.
The garden aims to underpin the value expressed by the foundation as a symbolic and functional collector of an international community revolving around the Mediterranean, with a social portrait of Mario Faro – CEO of the Radicepura Foundation, and of his international relations. Relatives, friends, guests are all invited to suggest a plant example that can be representative of, on a subjective perspective, their own elective place. Plants become kind of a botanical “madeleine”. Displaced on the appointed area of the diagram, they create a Mediterranean garden made of simple forms and yet, while growing, rich and elaborated.
In the indoor spaces, paper sheets would have displayed as printed forms that describe each donator’s choice.
Unfortunately, the dynamics suggested did not succeed and the work remained unfinished, leaving the small olive tree donated by the Radicepura’s founder, Venerando, alone. That may be because relational aesthetics do not reach enough grasp in an environment such as that of a south Mediterranean country like Sicily, whose economy is actually dominated by relational capitalism dynamics? I’m not sure but, at the end, this is the “impression” produced by the installed device.