HUMANS: the dis-traction to exist
by Francesca Brencio
There is this strange belief in the human being for which every thought and every thing must always be in his favor. Acquittals and alibis alternate on human existence scenario like the pendulum of doing and thinking - always for it there remains time and space.
A few have even gone to think against the man, against himself. Who did this has gone mad, or turned to metaphysical and theological consolations that well have taken the place of the responsibility of thinking. HUMANS is a complete art project conceived and realized by Fabrizio Corvi, which combines in downturns discordant photography, poetry and music, which is designed to think and suggest against man, against his claim of humanity, with a view to questioning of authority or of its redefinition.
The narration of humanity according Fabrizio Corvi - rather, the window from which invites us to see the human race - makes me think of Emil Cioran, the romanian philosopher famous for his attempts to "cut up" the man: narrate the pain, ambition and the temptation to exist, the face to face with the conscious despair. Among his many aphorisms, I'm reminded of one, in my opinion related to the HUMANS of Fabrizio Corvi, that one in which he writes: "At the zoo. - All these animals have a decent attitude, except the monkeys. It feels that the man is not far."
HUMANS is not far from this Cioranian evaluation. There is absence of demeanor, there is violence: the jostling of the beauty that makes the man a few steps back from its place in the world. The project, precisely because thought in an interdisciplinary way, involves all the senses of the viewer to put on stage a dis-existence traction: a losting of place, an injury in the senses, a being beyond the ordinary.
Humanity, abstract and abused concept, raped by all moral and redeemed from every good intention, is declined in a daily life in which the individual does not wear clothes and does not wear shoes, does not embellishe its own figure and does not adorne its own face, but it is declined beyond good and evil, in the arrogance of his being. Arrogance that imposes its existence in the order of things in the world. Arrogance that is inherent to doing to being, that depersonalize the human relationships with each other, which violates the threshold of existence in terms of space.
HUMANS tells what in German is called "unheimlich", the disturbing - because it does not rest; the terrible - because it arouses fright.. He narrates in shots, sounds and new words, because they are daughters of a contemporary belly, what had already been sung to a young condemned to death: "There are many admirable things, but no one / is more admirable than man" (Sophocles, Antigone, Prime stasimon, vv. 332-333). The disturbing, what is worthy of awake and vigilant attention (the "marvelous"), excludes from the tranquility, from our usual element, by family, by security. Because of its nature, the disturbing tells the constitutive blind spot of the human in which, in the fraction of an instant, Prometheus becomes Cain and no God comes in his salvation.