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The art of Gibellina,

in its reconstruction,

does not follow schools of thought.

Official YIFY movies site: YTS.BZ

It eludes philological and historical rigor

or regionalist,

but affirms the values ​​of solidarity,

the function of art and the artist

in the refoundation

of a society and a community

with perennial life it wants

rebuild a different future.

Art transmits feelings

of humanistic solidarity,

with full awareness of the artist

of its poetic function

poietics, which he has of society.

This is why the appeal was raised loudly

to give hope and strength to this project,

to this will and tenacity to stay

stopped in our territory.

The artists were called and responded

at Sciascia's appeal,

Carlo Levi, Zavattini, Consagra, Carla Accardi

and others, not to beautify the city,

not to donate the works

or sell them to build houses,

but why together with men

of this city were committed to building together

as architects and with architects

the homes of poor people.

These were the collective responses

of the population of the municipality

to dot the city with works of art

as identity references

to the anonymity of the plan

of New Town of the government.

Not a penny was spent on contributions

government finances

regional or national government,

but with people volunteering

of Gibellina, with the sale

of the prepared folders

by the artists, with donations

and citizen sponsorships,

with the generous free commitment

and work by the artists themselves

who shared accommodation and food

in barracks and tents

of earthquake victims. Rather the government

even passed a law

to abolish the reserved 2%.

To the creations of works of art

in public construction.

The only art granted to poor cities,

to peasant towns,

it was funerary monuments in the square

to remind

soldiers killed in wars.

The only art allowed and supported by governments.

I must reluctantly say that it is a tool

legislation that little is known about.

Let's start by admitting this evidence.

At the same time,

since we're talking

of a law of 1949,

it is a tool that in some way

it has a history and a path

that somehow

has been confirmed over the years,

it has never been questioned.

So we can

define this law,

itself a true monument

from a regulatory point of view

and also from a point of view

programmatic on the importance

to conserve and enhance

beauty in our country

and therefore push the different administrations,

as far as the municipalities are concerned,

the free municipal consortia

and metropolitan cities

to use it with full awareness.

Next stop, May 27th.

Mayors have really become

the political outpost

in the relationship with citizens.

I always say, until the 2000s

we always talked about the Europe of the regions.

All this no longer exists.

It was gradually replaced by city networks.

Cities come together, dialogue,

the mayors talk to each other

and they also seek,

with different sensitivity obviously,

to reflect on the fact that culture

it's not just

the possibility of organizing

events in a city that attract

tourists or who provide well-being to citizens,

but it's something

which must be continuously cultivated

and which concerns the way of being of people

and community building.

So not only cultural events,

which is not the thing that interests us most,

but the construction of processes that can

enrich public spaces with works

but also of experiences and encounters.

If we look at our cities,

the theme of beauty arises,

the theme of valorization

of art is an absolute urgency

also with respect to the condition,

both from an urban planning point of view

both from the point of view also

sometimes the condition of the services.

It's an emergency,

so from this point of view,

I take this opportunity

also to be able to relaunch

within us as an association

in favor of the municipalities,

of the mayors, administrators,

of the municipal technical offices,

which then are those

that they are called in some way

to implement this rule,

start the procedures

and also to move in a regulatory labyrinth,

because the rule is clear,

but for the rest then, the condition in which they move

offices are not always easy,

the contract code,

the continuous changes to the contract code

are a demonstration of this.

So we can

start from there and try

also to send a more overall message,

in the sense that the rule must be respected,

lose these resources and not use them,

compared to works that are however impressive,

It's something we can't afford

in our condition,

but perhaps it is worth a warning,

with respect to how the public should operate

in daily activity and therefore understand

that the importance of art

and beauty in cities is a value

regardless anyway

that there is a regulatory imposition.

I believe that on this however,

honestly about state of the art,

there is still so much to do.

I believe that the 2% law,

the possibility that this law will actually be implemented

and that it is actually used,

especially at a time when in Italy

investments in public works

they should be substantial

for the funding that arrives, PNRR, etc.,

it could really be

the opportunity to bring art back

and culture at the center

of people's daily experience.

This is because you have the possibility

to see a work of art

within your city,

both because the presence of artists

who work in that city

produces contamination.

Then I believe attention

on artistic artifacts of any type

and whatever discipline it belongs to,

should be seen as the result of a process

and at the same time also as a beginning

of further processes,

of aggregation, of places that are reopened,

that are frequented,

trying to imagine it this way

the cultural dimension of citizens

can grow

and that values ​​can be found

around a sharing community

for visions of a different future,

possibly doing so

that recognizes identity values,

does not lead to the closure of communities,

but determine on the contrary the opposite,

openings and contamination with all those

that arrive in their territory.

My journey as a gallery owner,

but as an art lover,

it certainly allowed me to learn

great masters of contemporary art.

One of the moments

certainly the most beautiful I can put

in my wealth of experiences

and of relationships lived

the one with Hidetoshi Nagasawa,

one of the greatest sculptors

of the twenty-first century, than with Sicily

has a lot, truly one of the works,

one of the most works

interesting things I've experienced,

I saw it, I liked it and it made me happy

permission to think, to reflect,

to meet this great artist

it was certainly Proserpina's garden,

another work

important and imposing

made in Sicily for the occasion

of the 2% law.

That Hidetoshi job is a job

fascinating,

it's a garden where you spend a while

the experience of this great artist,

Hidetoshi who allowed me to go

at his house to meet him,

was linked to those areas because,

his summer home for

this artist was in Castrolreale,

about 20 minutes from Barcellona Pozzo di Gotto

and this was an important bond,

this relationship

that he held with this province,

with that place,

with those places that accompanied it

in the last years of his life.

But you

now you don't come back often,

here in Sicily because Messina too, right?

Yes.

You also found this opportunity

to find stone here,

good, beautiful stone,

of this quarry?

And.

You can then continue

to work here too?

In fact last year,

in the summer, my friend, two of my friends

of Barcellona Pozzo di Gotto

they brought me

in various quarries, here in Sicily,

to show me these beautiful Sicilian marbles,

who would like me to use them for sculpture.

Right.

But Adalberto arrived,

he did the first.

He has quickness

which must be recognized it in Adalberto.

My bond with him begins

from a chat in Castroreale,

in a beautiful house with a vision,

with a balcony

from which you could look at the Aeolian Islands,

with a cup of Japanese green tea

and in a nutshell

we immediately found that feeling,

that feeling that sometimes

it's not enough between a gallery owner and an artist,

but between a young person and an elderly person.

An elderly man who wants to convey a lot to you.

Hidetoshi Nagasawa gave me a lot.

It was one of the most important pieces of my life

and I certainly have memory

of all the conversations we had

and on the projects we had put in place.

He held his last exhibition in my gallery.

It was 2018, we had a great exhibition

with works created

with Custonaci marble,

a marble from our land,

a man who looked at the identity of a territory

and perhaps today the 2% law

this is what must be valorised,

not just the realization

of contemporary works of art,

but above all also impressive,

but it must enhance a territory.

Those works must be

made with feeling,

the symbol, the materials of a territory

that you want to rediscover

and who wants to retrain.

And this is the piece that is perhaps missing from a law

which can still be improved.

I know this law exists,

which is a law for the benefit

of the production of works of art,

but I have never had the fortune of enjoying it

about Farm Cultural Park.

I am against this 2% law.

Since I started

my art journey,

I've always heard about the 2% law.

How this money can be used

compared to a contract

originating perhaps in billions.

Here is the creativity of this

destination of money

it is limited to one object only

which is sometimes even questionably designed.

It's like furniture

which is at the base

of this palace, a public building,

of a road.

I think it's fairer

we are not even talking about 2% today

which was a failure,

because as much as in the Italian heritage,

in all these public contracts

that they were

earmarked for public spending,

have been converted into art,

bit,

perhaps it is even better that it was little,

why it would be done

perhaps even a lot of damage.

Damage of objects that made no sense

compared to the general creative project.

If you want to address the debate,

I think it's more fair

address the debate

in a moment like our contemporaneity,

where creativity sometimes

he no longer has the vision of that future being.

Here, planning must be born

together between the architect and the artist.

I have fought, in many public tenders,

not to apply the 2%

but to transform

those sums available,

from urban furniture, on the facade,

inside a palace,

any public job,

with all the money there is for the ordinary.

Here, if the ordinary one is entrusted

not at purchase

with the catalog of the object

of matter, but an artist,

the artist and the architect together

maybe they could share

a process of creativity that cannot be found

the meaning in the representation of art at 2%

but finds meaning in a creative harmony,

be an architect and an artist.

So keep talking about 2%

it is offensive to art,

for the artist, any artist

and at any level.

The 2% law is an important opportunity

for Italy and Sicily.

And I had an important experience in 2014,

the ability to watch via the internet

to a public notice that allowed

the creation of an environmental work

at the Alia Belvedere.

He immediately understood

that it was an important opportunity

and I called an artist from the Madonie,

although he has lived in Rome for some time,

which was Croce Taravella.

My relationship with Vucciria is wonderful,

it's a great time.

It starts in 90, I came from an experience,

I had been in Rome for a couple of years

I worked as an assistant set designer,

here at Rai,

I'm going back to Palermo again,

also because that job didn't interest me much,

I wanted to paint,

do my own thing.

And I had no space there, so I go back there,

I approach Vucciria with a friend of mine,

Marco Incardona, a great painter, among other things,

yes, we were in the Academy together then,

we attended the Academy in the 80s.

And then we met again there at Vucciria

and it took me to this amazing place,

Taverna Azzurra

We immediately understood

that it was an opportunity worth seizing

and we immediately thought of realizing

small-format bas-reliefs,

to understand how it could be accepted

by the community of this Sicilian municipality,

which was Alia.

We thought of representing the Gurfa caves,

which is a symbol of this territory

and we thought not only to realize

a large three-dimensional low relief,

but above all to bring back and rediscover,

studying the history of that country,

those important traditions,

which are agricultural ones,

inside this great work.

A unique opportunity to interact with the public,

an audience that was that of the city of Alia,

a small town,

but at the same time,

that he could somehow,

over time, through this great work,

attract visitors and art enthusiasts.

Fabio, a few more spots scattered there, come on, go.

To the right

almost complete

you see, all the animals,

people, children.

I basically met other people there,

I got used to it on the spot,

from there little by little

we also started doing,

there is another contemporary art association

that we created this group

of this Palazzo Rammacca

and then in short, fate wills it

that Palazzo Rammacca has always been present.

Because there I begin to realize this association,

where among other things he was present

also another painter friend of mine,

that he lived there even before me,

in short, there at Palazzo Rammacca, Guido Baragli,

He also passed away recently

and it starts a little to work as a cultural association

of modern and contemporary art,

with Falcone, Bramante,

in short we did a bit of experiences,

he also brought the exhibition,

for example of Kounellis in Palermo,

Beuys, other things,

but above all

it is an interesting relationship with the public,

with the people who lived there,

from shopkeepers, from fishmongers,

the butchers,

in short, this climate was created right there,

around the Taverna, very nice

and then also there in the association,

then over the years,

In short, from there we dissolved this group

and then we created this other association,

with a fantastic group, with Boris, Jürgen,

Jürgen is Austrian,

Boris is german and from there we have

also started to have artistic experiences,

also theatrical internships,

in short then a group was created,

although I remember Australians,

French, German,

in short, a little of everything,

there were also presences, I remember Nick Cave,

other people who always hung out there.

When I arrived in Palermo in 92,

contemporary art in public space

it wasn't really there.

And I will say for us,

quite a bit of time later

that we founded the association

cultural Mondo Tondo in Vucciria,

until this journey began

with contemporary art in public space,

exactly with Uwe Jäntsch.

Today, after many years,

I really think so.

The public place, Piazza Garraffello in Palermo,

I didn't choose it,

Instead,

this public place chose me.

Uwe Jäntsch

he is definitely the artist I loved the most

and that I continue to love more,

an extraordinary artist,

like few I have known in my life,

perhaps none, I would say.

Difficult to explain, how to say,

the scope of Uwe's work

and also how he lives

his relationship with art, which is total,

which ignores the market,

regardless of the galleries,

regardless of prices

and it's funny how

after a long time,

I understood how much it had influenced

also the work we did in Favara,

in the seven courtyards.

Without knowing it, I had actually absorbed

his way of working in the square,

with the people, with the locals,

with the children

and somehow, filtered by a different sensitivity,

by other artists,

he also had an impact in some way

about what we did in Favara.

We hosted him in the association

for a period,

he wanted to leave a

sign of his presence.

First he thought about painting our walls

of the association, but he soon saw it

this enormous building in Piazza Garraffello,

which was in previous years

declared unusable by the Municipality of Palermo

for security reasons.

He began to make it, with his murals,

like interiors from a past never experienced,

which then ultimately led

also to the conclusion of some historians of Palermo,

that they published in books,

that these were the interiors

of the houses of Palermo of the past.

You?

Mom and sister

yes

Mother?

Mom, yes, yes

Mother

so, are you a dad?

No

Anyway,

I created from the beginning,

in these 19 years of active permanence,

with all my heart,

the future of art,

While,

the institutions are there

busy,

with their friends,

counting money,

and to give to me,

for this public place

Piazza Garraffello in Palermo,

lots and lots of bad news

and nice information

and with this information

I created with my heart,

with my head,

with all the citizens around,

a beauty.

Ok, ok!

And today, after many, many years,

who I'm no longer in this public place,

I send in all these directions,

that we noticed,

where there are many, many people,

there, in this place,

in this city, Palermo,

in this beautiful country,

Sicily,

all these people

they bring you lots and lots of money today.

And for this I am happy

because the Nation bank,

that I have been creating for at least 10 years,

it's no longer there.

After Uwe started with his murals,

of course this idea immediately

also began to be

inspiration for other artists.

The first was Croce Taravella.

We've created a really nice group,

culturally friendly,

we also had parties,

some great food in this place,

we went to trattorias,

in the taverns, always inside the Vucciria,

we had nice aperitifs,

it was a way to live, but then again,

Vucciria also becomes an island for me,

no, it's a happy island,

it's an island basically because you ultimately

if you sink in, you'll never come out,

it's like a basin that goes right down

under the stairs of Via Roma,

and stay in those ravines,

right from there, but,

I think, for example, shopping,

you made everything on site,

any meeting,

any appointment always took place there.

So there was a situation, let's say,

fervent, attractive, in every sense,

then we started creating these installations,

these at the end, just the last period we were there,

that there was another very good artist,

Uwe Jäntsch,

who made this installation in the square,

where he created with stencils, he recreated,

who then over the years has always taken it up again,

this work on this gutted part,

of Piazza Garraffello,

while I at the same time,

behind, right behind,

in the square relating to the Palace on the other side,

which was a closed square, affected by an earthquake,

therefore sealed.

And he then created, behind Palazzo Ramacca,

where the headquarters of our association was,

another huge murales,

in the days made with colors sprayed with pumps,

those of the firefighters,

and so he created this total installation,

where Sollima also acted.

So I,

directly with a pressure pump,

I started to paint all the buildings,

everyone around,

that there were on this square.

Then I also created an installation

with fake tombs, in short,

all raised in steel only at the bottom,

so it was really an operation that I created

site specific,

a sculptural-pictorial installation,

that then also on these, I must say,

we did a little filming,

we have films, in short, then we inaugurated,

among other things Mondo Tondo was a beautiful adventure,

because many people were present,

we always did a lot of operations,

among other things

we coordinated everything with the public,

we, for example, also invited

the boys of Vucciria, people,

they came to us, we went to them,

these parties were also created in the square,

drinking wine, beer, movies,

documentaries, football matches,

when there were the World Cup, European,

in short, a beautiful situation.

Then, okay, I'll continue ours

experience in this,

because we have seen the great potential there is

in this creation of contemporary works,

in public space.

And we imagined an art park

at Vucciria, with many artists

of Austria and also of Palermo,

so to make this union,

which started with Uwe and Croce.

I would say the weather,

Thank goodness it doesn't rain anymore,

but the light goes out soon,

Let's start with the tour

and we look at the six artworks,

of the six women.

This is why we are here today,

to inaugurate the six artworks,

of the six women, here at Vucciria.

Then, unfortunately,

when Banco di Sicilia no longer gave us the funds,

that we first thought we had,

the municipality came, with Emilia Valenza,

she was responsible for the visual arts at the municipality,

and he said, look,

the councilor also liked it so much,

at the time Giusto Catania,

who want to finance it,

this is how this relationship with the institutions began,

that we as an association,

before that, we had never asked

of public funding,

in fact we have always done everything with our own means,

with our money.

We were funded by the public.

We started in Favara thirteen years ago

and now we are also in Mazzarino,

with two buildings,

this and the other one.

My relationship with the institutions

it is very varied,

in the sense that when

you meet beautiful people,

obviously the relationships are exceptional

and you manage to do important things,

as happened here in Mazzarino,

we found a municipality

very welcoming and combative

to bring Farm to Mazzarino.

Over the years we have also had

of very difficult moments, of clashes,

it happened with the Municipality of Favara,

but probably the fiercest clash

it was here in Mazzarino

with the Superintendency.

It is a complex relationship because often

institutions are struggling

to dialogue with innovation.

It is clear that planting a forest

inside a ruined building,

does not fit into any cadastral category,

and it takes a certain degree of intelligence

and open-minded

to also find the size

legislation that justifies innovation.

This doesn't happen often,

sometimes it is preferred

keep your eyes closed,

but I think it's a structural problem

of our country which is struggling a lot

to reason with all those institutions,

with all those projects

that somehow move the borders,

and they create things

which didn't exist until yesterday.

Art is not furniture,

art is not surface,

art is soul.

Maybe all architects, engineers

collaborating with artists,

who have a vision of the ordinary,

always in the extraordinary dimension,

like I did

in all my artistic, creative processes

they could be left within the national territory

some artworks

that these are no longer the object

but the process.

A creative process

that it wants to have as its mission,

at the basis of this contemporaneity,

beauty education,

educate about beauty

it is the meaning of our time.

They are unique works with Vucciria nail,

this nail in Vucciria, Andrea.

When it comes to the future

of Farm there are two hypotheses,

the most accredited hypothesis,

unfortunately is extinction.

It's hard to say, Farm is for me

evidently a third daughter,

but history teaches us

that even large commercial institutions,

large multinationals

they have an average lifespan of 40 years.

It's not what we hope for,

that's not what we work for,

there is a small chance that Farm

become a small multinational

of culture, education,

which today has its headquarters in some way

in Sicily, but which could have some

antennas in a short time in Detroit,

in Africa, a Macao, in Cina,

rather than in other places in the world,

to create these bridges between cultures,

between different disciplines, between different thinkers,

because everything we do

for thirteen years now,

inside Farm, with art, with architecture,

it always puts itself at service

of people, of the way of thinking,

of the way of being, of the way of living,

trying to improve ourselves,

improving the places we live in.

L'Atelier sul Mare is a great agency

educational about beauty,

it's an experience of that heart

which finds meaning in membership

to being a work.

Here the artist did not just want

represent his aesthetic journey,

but he found his meaning in delivering

to the public

that beauty education

that passes through amazement,

the wonder, even the annoyance,

disorder.

They are places of the soul.

Each room does not represent art,

as a sign,

what does it mean, what does it mean,

but every room is an emotional space

where each of us, the user,

returns to feeling emotionally

universal value of being a artwork.

Here, returning to being artwork and feeling

that each of us is a part of

of that artwork of the universe,

this is the beauty.

This work after 40 years

which has been recognized throughout the world,

it has become an international destination.

Even today in my life as a heretic,

I had to face yet another test

which must not pass

for recognition.

The heretic must never descend

also the storytelling of the ego, of one's own ego

also of the artist who finds meaning

in being recognized.

The heretic perhaps must finish the journey

of his life, in coherence

and in the difference value,

witnessing meaning in the process.

Here I am today in my season of life,

maybe it's more right,

it's a little heavy, but it's right.

Maybe, let me go a little output,

not with the recognition of a system,

but with the heretical value of testimony.

And this heresy of beauty

it immediately manifested itself in what for them

as a system it is the contrast,

what for them is the arrogance of a power

which finds its meaning in the norm.

Here too I was investigated,

this summer, to always be part of

of something that is not up to standard.

And I thank life for this

which are not up to standard.

I respect the laws,

I don't respect the arrogance of those of that law,

of that bureaucracy,

flaunts its violence.

And here there was this normative violence

and there was also a violence

not recognise, in that international destination

than a person or a private individual

he gave back to everyone as a common good.

10 communities, small towns

they live today thanks to this gift of mine

of the Fiumara D'Arte and also of the hotel museum

Atelier sul mare.

But the arrogant, obtuse system,

begins with his murder, and at the end

it's the suicide of that same power.