00:00 [Music]
00:20 [Applause]
00:29 [Music]
00:51 Dear Giulio, I appreciate your work a lot,
00:56 and also your dimension, which is not only of a sculptor, but also of an architect,
01:01 because these evangelists go to place themselves on the summit of the Church of San Pio X,
01:07 in the heart of the Baldwina.
01:10 So I see something very similar to the conception of Bernini,
01:15 when he conceived these Deus ex Machina,
01:18 which suddenly emerged from silence and gave a strong feature to architecture.
01:25 I am always afraid of being compared to these great figures,
01:29 because I think they live in a hyper-chronal that is unattainable for me.
01:35 Surely it is true that the path I try to pursue and do
01:41 is very much linked to that of the masters of the past.
01:45 I also see this capturing of vitality in eternity,
01:50 which then extends into a discourse that goes towards the Greek.
01:54 This oscillation of the figures of the Greek between life and death, between earth and heaven,
02:00 this continuous tension that stretches the figures.
02:04 Yes, it is certainly due to this entropic energy,
02:09 which then enters the matter itself, which in vibrating,
02:13 also throws itself, it also transcends itself.
02:16 There is so much of this call to the immersion of the matter, of the figure, of the subject.
02:22 Let's say that I love to think of your sculpture
02:27 inserted in this magnificent Piazza della Ballina,
02:31 where this Christ of Publio Morbiducci was waiting for the four evangelists,
02:38 with their modern and somehow also overflowing lines of infinite space.
02:47 THE BOOK
02:53 The idea for the book was born many years ago
02:58 while I was doing research for the films I was writing,
03:03 of which I then directed, being set in a similar historical period.
03:08 I am incapped in Antetopi Cimimara
03:12 and its figure and what it combined in the 20th century
03:16 have deeply fascinated me.
03:18 So a very long and complex research was born
03:22 to rebuild life and gestures, which lasted many years.
03:26 I would say that writing prevails clearly,
03:29 which in my case is also propaedeutic to the direction,
03:34 as in the case of Terezin,
03:36 because writing is certainly the most fascinating phase of a film project,
03:44 at least from my point of view.
03:47 It allows you to create, I don't say from nothing,
03:52 because in all my previous cases it started from a really happened event
03:57 or from a character like Imara, who really lived.
04:01 But the writing phase is the one in which I think you can express greater creativity
04:07 and it is the one that from my point of view is absolutely the most fascinating.
04:11 To tell a complex character like him is impossible.
04:16 The interest arises for an extraordinary character
04:21 who over the course of his existence has accumulated
04:26 an incredible collection of more than 4,000 pieces,
04:30 which are now exhibited at the Mimara Museum in Zagreb,
04:35 and which over the course of his life,
04:38 with a great culture and a great artistic background,
04:43 he has traveled through four continents,
04:47 managing to move in the world of art in a somewhat debatable way,
04:53 let's say to Arsenio Giuppina.
04:55 A difficult character not to be fascinated by him.
04:59 [Music]
05:09 [Music]
05:10 [Music]
Comments