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What does it mean to resist? What value does this word assume for the individual who, projected out of his or her home, must support the difficulties of contemporary society? And how can he do it?
To face a reflection on the concept of resistance today, it seems necessary to start from the dimension of the ego, from the internal tension from which inevitably originates the approach to the world.
This is why the review Ventinovegiorni (of resistance) opens with an intimist work, Acqua azzurra acqua chiara by Elvio Chiricozzi.
The work presents the image of a young boy lying on a bench, face up, with a finger pointing upwards, indicating outside the edge of the canvas. The choice of this work is presented as the explicit will to look forward, aware of the frailty of the subject actor, lacking the experience that makes the path stronger and safer. The protagonist of Elvio Chiricozzi, in fact, is in a middle age, no longer a child, not yet a boy. And pre-adolescents, by their very nature, live in the balance between the custom they need and the aspiration to adventure. The artist's child takes on a metaphorical value and, in this sense, reminds us of Truffaut's children: beings full of vitality but with a characteristic note of anger, with the desire to break the rules imposed by affirming their own personality, but too young to face the events of life with confidence. their condition is almost of suspension between real and metaphor of reality.
In the same way, Chiricozzi's work, even if it recalls a sense of pacification in its aesthetic formalization, collects in itself this interweaving of emotions, expressing its strong value compared to today (the work is from 2003). The work immediately denounces an aspiration to something else, a perspective vision that finds its foundation in its adherence to the earth (the bench) and therefore to today, although it develops towards the beyond, tomorrow, thus marking the expression of the constant tension of active resistance.
But from a careful observation emerges the suspension of the bench from the ground, an element that if on the one hand refers to total freedom of thought and the absoluteness of possibilities, typical of young age, on the other hand allows the fragility of its roots to emerge.
And in the complex social panorama of the 2000's, man seems to be moving equally, caught between the need to oppose and the uncertainty on how to do it (particularly in our country), attached to the certainties that supported him in life but deprived of them, without the support of the railing of ideologies that led the resistance of the 20th century and with a different path - also of thought - to be built. A new child with his finger beyond the canvas.
