In this strange period dominated by a sense of distance, together with my association L’Arca degli Esposti we decided to give life to a collective and shared dream: therefore I call out for all the artists, creatives, writers, poets, musicians, surrealists and ‘pataphysicists who follow this blog!
Our new project is called Inventarium, a real multimedia illustrated dictionary of Fantastic Gnosis, signed by contemporary artists who are invited to coin a term, define it and provide an iconic and / or audiovisual representation of it.
A surreal collection of figurative neologisms, of fantastic binomials and evocative connections which, following the lead of the Codex Seraphinianus (a fantasy encyclopedia written in asemic characters and illustrated by Luigi Serafini in the seventies, widely appreciated by notable authors such as Italo Calvino, Federico Fellini, Tim Burton, etc.), intends to map an alternative world dreamed and composed, piece by piece, by the artists.
A visionary enterprise that will take the form of a permanent and constantly evolving collective exhibition / encyclopedia, which can be consulted online on the association’s social channels and, in an organic way, on the association website.
Inventarium currently includes the following thematic/oneiric sections:
● ETHNOGRAPHY Impracticable Customs, Dictionary of Chimeric Fashion, Pataphysical Culinary Art
● NATURE Fantastic Bestiary, Magical Herbarium, Anthology of Non-existent Fossils and Minerals
● SYMBOLS & PSEUDOSCIENCES Insurrectional Physiognomy, Capricious Anatomy, Alchemy of Contemporary Ether
● GEOGRAPHY Atlas of Metaphysical Cities
Alongside the artists invited by the curators, sumbissions from every geographical area are welcome.
Contributions must be submitted via email at [email protected]
So bring it on, unleash your imagination, invent new words and give them life through your works!
The last time I wrote about my friend and mentor Stefano Bessoni was four years ago, when his book and short film Gallows Songs came out. Many things have happened since then. Stefano has been teaching in countless stop motion workshops in Italy and abroad, and he published some handbooks on the subject (an introductory book, together with first and second level animation textbooks); but he also continued to explore children’s literature by reinterpreting some classics such as Alice, Pinocchio, the Wizard of Oz and the traditional figure of Mr. Punch / Pulcinella.
Bessoni’s last effort is called Rachel, a thrilling work for several reasons.
First of all, this is the reincarnation of a project Stefano has been working on for decades: when I first met him – eons ago – he was already raising funds for a movie entitled The Land of Inexact Sciences, to this day one of the most genuinely original scripts I have ever read.
Set during the Great War in a faraway village lost on the ocean shores, it told the story of a seeker of wonders in a fantastic world; eccentric characters roamed this land, obsessed with anomalous and pataphysical sciences, amongst ravenous wunderkammern, giant squid hunters, mad anatomists, taverns built inside beached whales, apocriphal zoology shops, ventriloquists, ghosts and homunculi.
A true compendium of Bessoni’s poetics, stemming from his love for dark fairy tales, for the aesthetics of cabinets of curiosities, for 18th Century natural philosophy and Nick Cave’s macabre ballads.
Today Stefano is bringing this very peculiar universe back to life, and Rachel is only one piece of the puzzle. It is in fact the first volume of the Inexact Sciences tetralogy, which will be published every six months and will include three more titles dedicated to the other protagonists of the story: Rebecca, Giona and Theophilus.
Rachel is a sort of prequel, or backstory, for the actual plot: it’s the story of a strange and melancholic little girl, who lives alone in a house on a cliff, in the company of some unlikely imaginary friends. But a terrible revelation awaits…
It is said that Rachel helped her father with his preparations, and that she was actually very good at it. A proof of this unusual childhood activity is her presence in a famous painting by Jan van Neck where, dressed as a little boy, she assists her father during an anatomy lesson on a dissected newborn baby. Rachel’s job was to dress with lace and decorate with flowers the anatomical creations, preserved in a fluid Ruysch had named liquor balsamicus, an extraordinary mixture which could fix in time the ephemeral beauty of dead things; many of these specimens, now on display in museum, still maintain their original skin complexion and the softness of a live body.
But Rachel’s fate was different from what I imagined in my story. She abandoned medicine and anatomy, and grew up to be a very good artist specializing in still life paintings and portraits, one of the very few female artists of her time that we know of. Some of her works are now on display at the Uffizi and at the Palatine Gallery in Florence.
Rachel Ruysch, Still Life with Basket Full of Flowers and Herbs With Insects, 1711
At this point, I feel I should make a confession: Bessoni’s books have always been like a special compass to me. Each time I can’t focus or remember my direction anymore, I only need to take one of his books from the shelf and all of a sudden his illustrations show me what is really essential: because Stefano’s work reflects such a complete devotion to the side of himself that is able to be amazed. And such a purity is precious.
You only need to look at the love with which, in Rachel, he pays homage to Ruysch’s fabulous lost dioramas; behind the talking anatomical dolls, the chimeras, the little children preserved in formaline, or his trademark crocodile skulls, there is no trace of adulteration, no such thing as the mannerism of a recognized artist. There’s only an enthusiastic, childish gaze, still able to be moved by enchantment, still filled with onirical visions of rare beauty — for instance the Zeppelin fleets hovering in the sky over the cliff where little Rachel lives.
This is why knowing that his most ambitious and personal project has come back to light fills me with joy.
And then there’s one more reason.
After so many years, and taking off from these very books, The Inexact Sciences is about to turn into a stop motion feature film, and this time for real. Currently in development, the movie will be a France-Italy co-production, and has alreay been recognized a “film of national interest” by the Italian Ministry of Culture (MiBACT).
And who wouldn’t want these characters, and this macabre, funny world, to come alive on the screen?