The duo-exhibition by the Sicilian illustrator Amalia Caratozzolo and the Roman writer Stefano Shone opened on Friday the second exhibition season at Inferno Store. After the first round in Tuscany, ‘Tribute to David Lynch’ exhibition will stay in Rome until the 11th of January.
Between vynil discs, independent publication and music posters, Inferno Store opens with a homage to David Lynch combining the works of the Sicilian illustrator Amalia Caratozzolo and the Roman calligrapher and writer Stefano Shone. If Amalia Caratozzolo engraves the immortal expression of Lynch’s characters, Shone crystallises the essence of his movies in one significative quote. Curated by Rossana Calbi, the show plays with different backgrounds and artists to capture the iconic and mysterious world of Lynch’s characters and atmospheres.
Before Rome, the show was presented for the first time in Ambra, near Arezzo. Opening the Cinema season, the visual exhibition played with dynamic live performances and video-projections by Luca Zampi to explore the symbolic atmosphere created by the American director. Among screen projections, the burlesque performance by Elle Bottom Rouge, celebrating Mulholland Drive (2001), brought to life the artworks creating an invisible connection between the artworks and the screen.
This time, the artworks are combined with texts to open new interpretations of Lynch’s influence on our society. A fanzine completely dedicated to the director collects the artworks of the exhibition and a comic strip by Adriana Farina and Massimiliano Filandoro. The visual exploration of Lynch’s iconic world is framed by the essays of two film critics, Matteo Marino and Daniele Silipo, reflecting on the influence of the filmmaker on our generation and cinema production.
The combination of perspectives and artists offers the bottom line to interpret this variety of suggestions. As in Lynch’s work the plot and message are always hidden and transformed by the iconic elements, Strange Opera proposes a show in evolution that homage an artist to create new art. Without forcing a unique reading of Lynch, this tribute creates a ground to suggest an interpretation of our time through the surreal and iconic world of the director that most influence our generation.
Last month, Noisily Festival opened its beautiful field on the 5thof July, lost in the deep Coney Wood in Leicestershire. Since its debut in 2012, the Festival keeps growing through a combination of music and arts to inspire passion, self-expression, a sense of community and connection with nature.
For its seventh year, Noisily opened in the Soul, Mind and Body area with a small art gallery; a little tent to play with colours and drawing; a telescope to look at the stars; and a first taste of the amazing music set for the weekend.
The line-up for this year spanned techno, psy-trance and experimental bass, showing their intentions of offering a wider range of music to attract different people without losing the elements of originality and discovery. In the Noisily Stage, you could dance on the house-techno vibes of Solee, Louie Cut or James Monro, while the Liquid Stage dedicated its deconstructed geometrical shapes to psy-trance with the shows of 4D, Bad Tango or Symbolic. Almost hidden between the stands, the Leisure Centre was playing all kinds of music, from spoken word to dub, while the Three House Stage moved the dance floor with Ed Solo, Far Too Laud, The Chicken Brothers and Slug Wife.
The stages in the woods were spread around a central space in which everyone could enjoy artisan food, circus and fire performances, as well as simply talk about the night on the floor with someone you never met before. Or you could just get lost in the woods and follow the lights installation almost hidden in alternative paths between the stages, or discover paintings in progress, wooden constructions and hidden games, interacting not only with the festival but also with the peculiar atmosphere of the wood.
Two site-specific, interactive art installations were particular examples to see the proactive interaction between people and the external environment. Symbiosis is a dome-shaped installation that aims to combine technology and art in the peaceful environment of the wood. Created by the artist Kira Zhigalina, the sound designer Andrey Novikov and the engineer Adrian Godwin, the installation plays with sensors and LED lights, which move following the breath of the participants inside the intimate ‘igloo’, stimulating a deeper sense of connection with yourself, the others and the environment. The second installation Rebirth, by the artists collective Madin, is a giant egg made out of recycled pallet wood, which people could get in and feel intimately connected in this bubble that gave the illusion of floating in the wood.
These two installations are programmatic examples of the intention of offering a ground in which anyone is free to express him or her self, respecting the others and the environment outside the usual labels of our society. If, generally, festivals are seen as places in which to completely disconnect with reality and stop thinking about the contradictions of our time, in contrast Noisily proposes an alternative approach to the issues characterising our society. The program ‘looking after the wood’, for example, made people and traders think about how to avoid the overproduction of plastic and rubbish to respect the wood, while art and installation created alternative occasions for encounters with people outside your usual social circle.
In this sense, Rebirth and Symbiosis enclose this deep intention at the core of the Festival. Made out of recycled material, both installations proposed an alternative way to combine the importance of responding to the environmental issues with the necessity of stimulating an alternative understanding to connect to the diversity around us. Rather than playing with spectacular installations that can surprise for short time, the Noisily team is committed to leaving memories that you can bring with you to your everyday life.
That’s what makes this festival so unique. Noisily offers a peculiar example to think of the potential of festivals to suggest an individual sense of responsibility and critical reflection while having fun. The magic environment of the woods, in combination with music and art, stimulates this deep sense of connection, interaction and dialogue. It reflects the need to understand our complex and contradictory society through new schemes, rather than lazily relying on old mind structures. Wishing to see the festival on the edge of the mainstream dynamics again next year, we look forward to seeing how the decoration in the wood and the music will stimulate new connections and new approaches to proactively respond to our society, while having a lot of fun!
On the 7thof January, Inferno store re-opened in Rome with an intense new cultural season of book, music records and art. The old record shop Hellnation, belonging to Roberto Gagliardi, is now directed by Claudia Acciarino , Antonio Olivieri, both musician, and Martina Ronca, punk singer and curator, that are playing with their different background to give a unique personality to the small shop.
At the beginning of January, the new direction celebrated the new season of adventure with three days event with music, live painting from Marco About and Sicks, a live showcase of uBiK, books, comics and accessories. This Saturday, Inferno Store opens its space for a recording label To Lose Track listening day, curated by Capperi! (LAGS), distribute by AudioGlobe.
The vibrant and eclectic vibes of the store frame the works of the Roman artist Debora Malis for the solo exhibition Mi Odio, curated by Rossana Calbi, in collaboration with Strange Opera.
The artist, in her peculiar feminine touch, shapes the ‘bad thoughts’ of a good girl in terracotta polychrome, illustrating the female soul between delicacy and provocation. The childish feeling of fear connected with these thoughts is transforming to accept the confusion and contradiction of being a woman. The expression of this femininity finds a balance with the others around, especially with his male counterpart the right provocation to understand her.
In this continuous research of new forms and expression, Mi Odio shows us a peaceful and hilarious way of accepting contradictions and incongruities of a female soul, in which we can all recognise. With her feminine and intimate approach, Debora transforms confused thoughts, doubts and fears into works of art.
The exhibition of Debora Malis, combined with the events organised by the new direction of Inferno Store, offers us an interesting overview of the Roman cultural underground. The mix of different background, styles and disciplines not only creates an occasion of encounter, but also the opportunity of experimenting a different cultural approach outside the art event.
“Jupiter in Saturn” debuts tonight at Fondaco space with the works of Fabio Timpanaro and the sounds of Luca Longobardi. Curated by Nero Gallery, this exhibition is an anticipation of a show that will run in January to celebrate Twin Peaks of David Lynch, host of honour of the 12° edition of the International Film Festival of Rome.
David Lynch is one of the most innovative and eclectic firms of contemporary filmmakers. In occasion of the 50° anniversary of his career, the International Film Festival of Rome invited the director to tribute his works with the Premio alla Carriera. Master of uncanny, surreal atmosphere, twofold meaning and lack of linearity, Lynch is a director, screenwriter, producer, painter, musician, actor, and photographer. Parallel to the award ceremony, Nero Gallery organised a pop-up event to celebrate Twin Peaks, the famous series that has revolutionised the world and the language of TV shows.
“Jupiter in Saturn” is an exhibition that collects the works of Fabio Timpanaro, digital artist and creative director who dedicated his last works to the disquieting story of this small logging town five miles south of the Canadian border. Working on the mystery around the characters and the surreal atmosphere of the village, the artist offers us an overview of the peculiar symbolic language that makes Lyncian’s works open to several interpretations. Lynch inspired Timpanaro not only for the peculiar innovation of his works, but also for his artistic exploration. The works presented at the exhibition are characterised by an original combination of photography, digital and oil painting, which reflects the mystical and symbolic universe of Twin Peaks. In conjunction, Luca Longobardi curated an audio installation entitled 2357, that plays with the timbre and metric research of the sound imagery of the surreal world created by Lynch.
While we are waiting for the collective exhibition that will be run from January at the Nero Gallery, this anticipation makes us think about how the director is not only an inspiration for the world of cinema and photography, but also for the artistic research in a broader sense. The peculiarity of this tribute is the creative play that Timpanaro and Longobardi have to engage with their own medium and the open interpretation they left to the viewer, rather than a linear and clear reference to an artist that cannot be classified because of his individual exploration.
On Wednesday, at the Nero Gallery in Rome, ended “Eastern palace for pleasure’. For this solo exhibition, the curators Daphnée Thibaud and Giulia Capogna collected the works of Tony Cheung, Chinese artist who plays with pop illustration and ceramic on the contradiction of his culture.
Over the centuries, Chinese influences captured our imagination with fascinating manufacturing of silk and ceramic, and the variety of traditions and languages still evolving and transforming within the society. The connection with this immense land increased with the economic crisis in Europe, when the role of China as superpower became every day more evident in our economy. However, what we know about this vast and variegated land is only a small angle of the whole picture.
Since 2008, Beijing government has been filtering and detecting any information or channel of communication that could create doubts or discussion on the political moves of the government. YouTube, Google, Whatsapp or Social Media, which in the Western world are basically necessary to be part of the society, are totally forbidden in almost the all country. Beyond what we can see on the surface, the internal differences create contradiction not only for the political party, but also for the identity of the citizen.
Tony Cheung, from Canton, based his works on this social contradiction with a combination of Japanese manga, old Chinese painting, ceramic and the political posters of the Mao period. Tony began his artistic career with “Sensitive Words”, a project to investigate the evolution of the meaning of words under censorship, and the limits of expression on Internet and channel of communications. The artist’s illustrations highlight the contradiction in the society, analysing how ancient tradition and globalization are affecting the individual expression.
With a sarcastic vein, the artist plays on the commonplace connected with his culture, like school uniform or transformation of sexuality, illustrating how old and global tendencies are forming new shapes in Chinese society. Using traditional medium as illustration and ceramic, the artist proposes unexpected, dirty content without filter or easy moral.
The interesting aspect of the artist’s project is the lack of intention of leading the visitor to a fixed interpretation. In opposition with the philosophy of censorship and obvious categorisations, the artist leaves the observer free to give is own interpretation, without any label, but using the eyes of the artist to develop a personal understanding. This is a brilliant example of integration between two different cultures, where the opportunity for a “meeting” is left to the work of art, and how they move our sensibility or interest, rather than to a ready-made product that promotes the same, easy, meaning for everyone.
Yesterday ended the first edition of Beu-Beu Art Festival in Badia di Ruoti, a small village in the heart of Tuscany. The festival has been organised by Schimen Onlus with the collaboration of the associations Eureka and Strange Opera to present the works of over 70 artists through exhibitions, workshops, music and talks.
This was the first time for the Beu-Beu festival, a mix of contemporary art, illustration, publishing industry and workshops. Placed in a small village near Arezzo, the festival offered an overview of Italian contemporary art performing in the unique landscape of Tuscany’s countryside. Playing with the traditional atmosphere of the location, the exhibitions were spread through the walls of the XI century Abbacy of Badia di Ruoti to create an innovative contrast between the art and the place.
Example of this combination are the skates painted by the roman artists for the exhibition SKATE HEART ROMA, an idea of Davide Orlando and Valentina Roccanuova; or Fabulae, a collection of 10 artists presenting the ancient tales of Fedro; or the first collection of woman illustrators in Graphiste. Curated by Rossana Calbi are also the solo shows of Francesco Viscuso, Folklore, and Sergio Marsala, Snaturar Corrivo, that presented their work to celebrate the first edition festival.
In addition to the shows displayed in the Abbacy, the festival spread around the small town during the weekend interacting with the visitors with several activities. For the project WOODoo, following the idea of Marina Ronca, five artists invited the walkers to play with the big wooden man. Meantime, in Ambra, a small town next to Badia di Ruoti, the artists Nicola Alessandrini and Lisa Gelli live painted the first mural in the area of Bucine, inviting the visitor to discover the land while looking for the art.
The audience has been actively involved to be part of the festival during the whole weekend. The children could enjoy the editorial workshop Il Mondo Extra-Ordinario with Laura Caputo, while everyone could play with wood with Robox, or learn about serigraphy with Andrea Baldelli.
During the evening, you could enjoy a dinner made with local products waiting for the film projection of Virginia Mori or the independent music and DJ set. The artists Francesca Toscano e Francesco Viscuso framed the concerts with Il ramo d’oro, a floral site-specific installation created in harmony with the location and the atmosphere of the small village.
The artistic direction formed by the artist Marco About, the musician Luca Zampi and the curator Rossana Calbi gave space to independent art usually on the edge, offering a brilliant and variegated overview of contemporary art through music, visual art and talks with editors. The visitors weren’t only invited in discovering the art, but also the place.
And here I found the real peculiarity of this initiative.
Organized in a rural town of Tuscany, the festival kept is traditional background presenting avant-garde and cutting-edge art product of our time. The market and the food were local, offering the chance to small businesses to present their products, and their land. Rather than being stacked in saving a tradition that it is not going to be shown anywhere, the organisation of this festival illustrated us a concrete alternative to conserve our unique tradition through the pluralism characteristic of contemporary art, offering a new way to live our culture.
Musae opened on the 3rdof August, a solo exhibition dedicated to the legendary figures inspiration of Art and Beauty. Curated by Rossana Calbi, the solo exhibition of Elena Cernaria will run until the 30thof September in Amaneï, a centre of art and dialogue on the island of Salina, Sicily.
Amaneï is a small late 19thcentury palazzo lost in the middle of the sea of the Aeolian archipelago, in the heart of the village of Santa Maria. Abandoned since the First World War, the house was reopened in 2005 as a charity with the aim of promoting art through several disciplines. The idea was to create a meeting space to promote art and cultural events, with the intent of using the atmosphere of the island to explore the dialogue not only between artists and disciplines, but also with an examination of the history of the place. Recently, with the collaboration of Parione9 gallery, the house has also become a residence for artists, creating the opportunity for artists and curators to explore new ideas within close proximity to one another.
The peculiar and suggestive atmosphere of the house inspired the curator Rossana Calbi to play with mixing contemporary art and the island’s tradition with different projects that will run until the end of September. The last to open is Musae, a homage of the artist Elena Cermaria to the Greek divinities, which inspired the artists for their masterpieces since time immemorial. With her peculiar style of painting, the artist portraits her motionless seven Muses, inspired by the timeless and evocative shore of the islands.
The peculiar atmosphere that characterises the sea offers the opportunity for the curator and the artists to find a personal key to develop their relationship with the tradition of the island and their personal style. Gerlanda di Francia, in her solo exhibition Treasure Island, portrayed the mysterious protagonists of the legends of the Aeolian islands. Accomplished with the intriguing music of Alice Pelle, the artist collected different elements from the island to frame her mermaids and old sea tales, like precious boxes to safeguard the secrets of the sea from human eyes. On the other side, for his show Fish&Chips, Marco About decided to make a homage to the sea life of the island with his characteristic humoristic style. The Roman artist went fishing in the Aeolian seas to capture the typical undersea life to portray them on silk-screen printing.
The house has been reopened with the original architecture restored in detail, with the intent of promoting the potential of the island respecting its traditional history. Amaneï opens the opportunity to explore different thematic and artistic research. With Yoga on my Skin, Rossana Calbi and Giulia Piccioni investigates the fundamentals of yoga practice. 9 tattoos artists illustrate the interplay of the Asana with the Chakra, exploring the connection between the physical body and the energies that guide us in the journey of awareness from the Earth to the Sky. While Tarot, is a collective exhibition of 22 artists promoted by Stigmagazine. Each artist gave their reinterpretation of one of the Major Arcane, offering an overview of this old tradition. The variety of the style of the artists reflects the fickle nature of the Tarot, which is not the truth but a mirror that transforms itself with what you see inside.
The experimental attitude of Amaneï offers the chance to see how the tradition can fuse with the art in a way that is typical of our contemporary society. The variety of exhibitions and artists gave us the chance to enjoy the art in alternative vibes, creating an innovative meeting with our culture.
Fabulae is a collective exhibition of 10 street artists inspired by the collection of fables written by the Latin author Phaedrus. Curated by Rossana Calbi, the exhibition will run until the 29thof July at the Sala Blu Gallery in Rome.
Phaedrus was a slave who lived in the ancient Rome during the 1 century A.D. Freed by Emperor Augustus for his literary talent, Phaedrus introduced the genre of fables into Latin literature. As his Greek master Aesop, Phaedrus used exempla with animals to create allegories warning against life’s dangers and describe human behaviour. Observing his time and his socio-political situation, Phaedrus developed his unique vision of life, using the simple vocabulary allowed by fable, to be understood by anyone through a lesson thought a the end of any short story. Linked with the cynical philosophy of Diogenes, the author used animals to illustrate his idea of society, which he saw divided by power games, where dog eats dog, and the weaker, less powerful lower classes that simply had to accept the absence of justice and the fear and resignation that brought with it. Phaedrus translated his vision of reality to illustrate the inevitable corruption of the society, where the hope in justice or mercy completely lacked, even trying to save who is stronger than you in a moment of need. Strong examples of this idea are The man and the adder, work presented by Alt97, or The wolf and Crane, presented in a medieval style of painting by Lucamaleonte, where helping the evils means death instead of reward.
The intent of these lessons, however, has never been to inspire a revolution in those oppressed lower classes, but to teach one to see the world with eyes anew, so that one might learn and inspire personal change. According to this idea, 10 street artists have been challenged by Rossana Calbi to give a contemporary interpretation of the lessons thought at the end of the short stories borrowed from our childhood imagination. The artists reshaped the moral core of Phaedrus’ work, respecting the variety of the themes with the variety of their style and background. The 10 artworks on canvas shown by the artists match and echo Phaedrus’ lessons, giving us the chance to reflect on dynamics still current in our society from a different angle. For example, The proud frog, reshaped by Iron Mould with an abstract and fragmentary style of painting, reminds us the waste effort we use to appear like someone else rather than improve our self; or The dog an the wolf, drawn by Matteo Brogi, who painted the character a strong human expression, makes us question on the price of freedom compared with a life of comfort; while The battle of the mice and weasels, that ORGH painted with a style that reminds us a child cartoon, touches the dilemma on the role of our commanders, a thematic issues which still bears cultural significance and saliency.
It is impressive how these stories coming from a time so far from us have still the power of making us question our society, overall if translated in a form of art so connected with our own society. The lessons though by Phaedrus never expected a revolution, but the intent was finding a universal key to talk to anyone was living in that society. The universal language of the street art gave us another opportunity to question and observe our contemporary time starting from stories that belong to our past. Once again, art may be the key to seeing our world with new eyes, from a new view not resigned to believe that our actions bear little consequence upon the world we inhabit. In the end, as Phaedrus said in The wasp and the butterfly, brilliantly recapped by Shone, “It does no matter what we used to be: the important thing is what we are now!”.
SPACE is a new satellite initiative of The Island. Today is the preview of their new exhibition, SynBioExpo, collaboration between art and science which explores the possibilities of CRISPR, a new technology to edit our DNA, and the consequences of it.
Today at 6:00 will be launched SynBioExpoat at the SPACE Bristol. This is a collaborative exhibition between the Bristol-based artists Imogen Coulter, Claudia Sticker and Theo Wood and researchers at BrisSynBio, the University of Bristol’s Synthetic Biology research network. Tonight the artists and the researchers will discuss the exhibition and the possibilities of CRISPR, a new technology able to edit our DNA, opening a conversation with the audience to share ideas and point of views.
SPACE is a new satellite initiative of the Island in Old Market Street. Trinity Community Arts have been running 6 West Street for nearly 5 years, under Bristol City Council’s Community Asset Transfer initiative, aiming to support the regeneration of Old Market. With the mutual scope of giving new vibes to local activities, The Island took SPACE (Sounds- Performance- Art- Community- Emergent) to offer an open hub to promote creativity in Bristol with exhibitions, workshops and talks.
The core of the initiative is offering a place to share ideas and presenting works that lead to an exploration of reality to question our society from unexpected angles. By opening the space to activities and artists on the edge of the usual channels, SPACE wants to create an alternative environment to think about our society working with the local community. Often we see the structure of our society far from our range of action, but starting our observation from a local point of view we can discover a different vision and think about it in new ways.
Example of this intent was Barrier, their preview solo exhibition. The show was a collection of paintings from the raising artist David Foord, who is still exhibiting at the Tobacco Factory until the end of May.
For David, observing is an act for questioning the reality we are living in, and he translated this idea using his paint as a tool to critically explore our society and analyse how systems of belief shape what we see, driving us in our conception of reality. Working around themes such as national identity, a proliferation of barriers and private propriety, through his paintings David made us reflect on how our beliefs play a strong role in our construction of reality. Without even being aware of it, we manipulate what we see, our landscapes, following a scheme silently articulate by the system of ideologies that we feel closer to us. We decide our scale of relevance in the reality we are living and we follow it to judge and classify the others around.
David offered us an alternative vision on this order, without criticizing or taking a stand to give us an answer. He uses painting to highlight aspects of reality with unusual eyes, giving us the chance to think about what we see in a different way. Reflecting on these thematic is assuming even more relevance today, when ideologies are playing every day a stronger role in defining our identity.
SPACE, with a completely different exhibition, is offering today another occasion to have an alternative vision on aspects we feel innate in our society, giving us an example of the power of local activities towards the tendency of our world.
It is the last night for the Othello directed by Richard Twyman, Artistic Director of English Touring Theatre. The show is a contemporary version of the Shakespearian tragedy for the 2017 season of Shakespeare and Classic Drama by Shakespeare at the Tobacco Factory Theatres.
Since February is on the scene a contemporary version of Othello, interpreted by Abraham Popoola, Norah Lopez Holden, as Othello and Desdemona, just graduated to the RADA; Mark Lockyer, as Iago and Piers Hampton in Cassio’s role. In a minimal, modern and symbolist key, the cast tell is the sequence of events that will lead to Othello’s tragedy.
The performance offers us a demonstration of the actuality of the theme that crosses the story; but what we can learn from Othello’s story?
Othello was performed for the first time in 1604 in London. It is based on Un Capitano Moro(“A Moorish Captain”), a story written by Giovan Battista Giraldi Cinzio, a disciple of Boccaccio, in 1565. In the Italian version, the texture of the plot is already delineated, but it was Shakespeare who gave name and form to the immortal characters of the original tragedy. Othello, the Moorish, is strong and brave; Iago, jealous and mad; Cassio, loyal but too weak to help his friend, and Desdemona, whose innocence remained uncorrupted until the end.
The tragedy was already controversial at the time it was written, but it assumes even more relevance today. It deals with the familiar themes of racism, love, jealousy, betrayal, revenge and repentance. As in the original version, the tragedy as portrayed by Richard Twyman started in Venice, with Othello who secretly married Desdemona and pretended to be Christian to be accepted by others. The story moved to Cyprus when Othello was called to protect the island from a Turkish attack. Even today, a strong cultural divide between Greek and Turkish influences is still prevalent in Cyprus, meaning that there still exists a live debate about the identity of the island. In the background, the theme of religion silently crosses the whole performance, making us reflect on how religion, cultural origin and tradition still play a necessary role in our judgments and beliefs.
The peculiarity of this version of the play is, however, the presentation of human feelings alongside the race thematic. The characters achieve this by being relatable to a modern audience, allowing us to deeply empathise with their experiences. Presented with a casual and smart contemporary style of costume, Othello and Desdemona are two young people that we could meet in Bristol during a night out. Iago is older, however, his mannerisms make him seem like the grandfather you always wanted to tell you a story. Cassio could be your good friend who always ends up making a mess with his life, and being unreliable despite his good intentions.
The story follows the original plot but, because of the simplicity of the presentation of the characters, you feel you could be in exactly the same position as them. The play reminds us how much we are conditioned by other people’s opinions, not only on how we think about racial issues, but also on our personal approach to relationships. Instead of believing in the words of Desdemona, who continually professed her love and never lied to him, Othello was contaminated by the opinions of others around him. Instead of trusting her, he chose the easier option of accepting the predictable story that was presented to him as the truth. And at the very end, when he finally discovered the true web of deceit that had been constructed around him, he asked to be remembered for who he really was, before the germ of jealousy had infected him.
But can we really cross this line between before and after? Can we distinguish the authentic ‘self’ from that which is corrupted by false ideas? Do these false ideas remove our responsibility for our actions?
We are influenced every day by other opinions, and we form our own one about politic, society, culture and relationship. However, even when we are hardly influenced by someone else, it is still our own “self” that makes judgments. We are still there, and our actions are still our own responsibility. This version of the tragedy made us reflect on our fragility: we live in a world of “social fear”, and we are so scared to be hurt or betrayed that we end up forgetting that trust is the only way to really get close to others and authentically get to know them. But trust means risk. It means to expose your self in a position where you are fragile, where you have any control on other people’s actions, but just hope and wait to see if your trust has been placed in the right hands.
The world we are living in is getting faster and smarter every day more. However, there is not a fixed time or an app we can use to classified human feelings or different personalities. Too often we forgot that the time and the “categories” we set up for our society it is our own structure, and this isn’t necessarily the world is supposed to be. Othello chooses to not wait and see with his own eyes if Desdemona was telling the truth; he couldn’t wait, he had to make a decision and determinate for her how it was supposed to be.
Probably, on a smaller and less dramatic scenario, we all act in the same way with the people around us. Maybe the strengths of this version of Othello is making us realise that often we were blind in our judgment because we can’t wait to see the whole scene or leave to the others the chance of showing how they really are. We focus only on details we feel relevant, on the characters we can easily recognise, like race, religion or background, constricting the people around us in a label that works for us. Because labels make us feel safe.
Maybe we can learn from Othello’s mistake and try to be braver. Try to trust the one that we have around, with their defect and beliefs, with their mistakes and imperfections, with the complexity due to different origins and backgrounds. And finally, accept that we are not perfect either. There is no path, religion or way of acting that will make us perfect, that will guarantee us always the right choice, as we are all human. Scared, imperfect, silly humans. Perhaps, it is indeed in this imperfection that we can find who we really are.