Il progetto fotografico analizza la rappresentanza simbolica del potere nell'architettura, prendendo a esempio quel "fascismo di pietra" di cui parla lo storico Emilio Gentile.
Con questo nuovo progetto fotografico, esposto ora per la prima volta dopo due anni di gestazione, Federico Baronello analizza la rappresentanza simbolica del potere nella sua forma più pura, l’architettura, prendendo ad esempio quel “fascismo di pietra” di cui parla lo storico Emilio Gentile, incarnazione esemplare dell’ideologia del potere, i magnifici edifici del razionalismo italiano realizzati tra i due nuovi poli della Roma fascista, il Foro italico e l’EUR. Già nel titolo, EUR_Libya contiene tutto il senso paradossale del lavoro
curated by Anna Cestelli Guidi
With his new photographic project, shown now for the very first time after two years in production, Federico Baronello analyzes the symbolic representation of power in its purest form, through architecture. The starting point for his research is the «Fascism embodied in stone» mentioned by the Italian historian Emilio Gentile: the ideology of power illustrated by the magnificent buildings of Italian rationalism spread between the two poles of new Fascist Rome, the Foro Italico and EUR. Already its title, EUR_Libya, points to the paradoxical sense of the work. The artist further suggests a metaphysical aspect: the architecture depicted appear as archeological monuments abandoned in the empty midday sun, reminiscent of the De Chirico’s Italian Piazza, but also of the Italian colonial landscapes in Africa.Lost in time, a surreal landscape fixed in sunlight, monumental but empty, silent, found here in Italy, but it could be anywhere in the Mediterranean or even in Africa. Indeed, on closer observation, the architecture in the photographs of Federico Baronello is transformed through a surreal manoveur by the very transgressive nature of the artwork itself (i.e. the photomontage). A visual strategy inherited from the Dadaist who through the process of appropriation and de-contextualization developed the neo-avant-garde criticism during the '60s and '70s. However for Baronello the combination and overlapping of images and places, reminiscent of the strategy of visual artists such as Hans Haacke, without any direct bearing, does not embody the same ideological criticism. Baronello's investigations are not a work about the real, as is the case of the German-American artist, but rather it is about the freedom of imagination, the utopia of the possible, inscribed by a minimal and discreet gesture. As if Libya, or better North Africa, according to the definition of the ancient Greeks and then the Latins, might become Rome, and Rome in turn could really become the capital of a unified Mediterranean world. By inquiring into the meaning of Fascist architecture today, the artist questions the political and symbolic role of the institutions and of the cultural landscape in its broadest sense. In these photographs the ideological result of architecture undergoes a profound transformation, as if the original imperialist ideology had passed through the anthropophagous assimilation theorized by Brazilian modernist Oswald de Andrade, as the ultimate destiny of colonialism. An economic post-colonialism, indeed. The names and logos of national companies that have long held trade and economic relations with Gaddafi's Libya, appear as imprints on the surface of the «Fascism embodied in stone» photographed by Federico Baronello.