In Vino Veritas
2015, In Vino Veritas, workshop and collaborative performances, directed by Nicoletta Braga, Torre Fornello winery, Ziano Piacentino, Piacenza, Italy, video stills
The project is based on the ancient Latin proverb ''in vino veritas" (in wine there is truth) to address the issue of the authenticity of art works and artistic action.
Through bodily actions and the realization of an installation that has as its foundation the wine establishment, the participants will be investigating all the expressive possibilities relating to the subject, highlighting the iconography of ancient art, which for their symbolic and evocative value refer to more everyday actions.
This is a project is based on the ancient Latin proverb ''in vino veritas" (in wine there is truth) to address the issue of the authenticity of art works and artistic action.
Through bodily actions, a series of performances and the realization of a ''tableau vivant'' that have at its foundation the wine establishment, the participants will be investigating all the expressive possibilities relating to the subject, highlighting the iconography of historical art, studying Greek and Roman mythology: Dionysus and Bacchus for the creation of symbolic and evocative value to refer to everyday actions.
An art-historical study will be required for students who will participate in the seminar that during the preparation stages will be invited to identify a path both individual and collective ideas and visions regarding the subject. The appearance of relation to the territory will be a central point in the search.
Apparatuses: Themes related to wine are the absolute protagonists of Greek vase painting, and in particular was widely popular depictions of Dionysos and thiatos Dionysian, in addition of course to the symposium scenes.
Already six thousand years ago, the Sumerians symbolized with a vine leaf human existence and, on the Assyrian bas-reliefs with banquet scenes, are represented slaves who draw wine from large craters and serve it to diners in overflowing cups.
Even the Old Testament Jews, who attributed to Noah planting the first vineyard, considered the screw "one of the most precious possessions of man" (The King) and extolled the wine "gladdens the heart of the deadly" (Psalms) . In the greek world wine was considered a gift of the gods and all the myths agree in attributing to Dionysus, the youngest immortal son of Zeus, the introduction of the cultivation of the vine among men, so that Dionysus, the god of wine , was the object of worship not only among the Greeks, but also in Etruria, where he was identified with the rural Fufluns deities, and then in the Roman world, where he was known as Bacchus and reconnected to Liber, ancient Latin god of fertility.
Through bodily actions and the realization of an installation that has as its foundation the wine establishment, the participants will be investigating all the expressive possibilities relating to the subject, highlighting the iconography of ancient art, which for their symbolic and evocative value refer to more everyday actions.
This is a project is based on the ancient Latin proverb ''in vino veritas" (in wine there is truth) to address the issue of the authenticity of art works and artistic action.
Through bodily actions, a series of performances and the realization of a ''tableau vivant'' that have at its foundation the wine establishment, the participants will be investigating all the expressive possibilities relating to the subject, highlighting the iconography of historical art, studying Greek and Roman mythology: Dionysus and Bacchus for the creation of symbolic and evocative value to refer to everyday actions.
An art-historical study will be required for students who will participate in the seminar that during the preparation stages will be invited to identify a path both individual and collective ideas and visions regarding the subject. The appearance of relation to the territory will be a central point in the search.
Apparatuses: Themes related to wine are the absolute protagonists of Greek vase painting, and in particular was widely popular depictions of Dionysos and thiatos Dionysian, in addition of course to the symposium scenes.
Already six thousand years ago, the Sumerians symbolized with a vine leaf human existence and, on the Assyrian bas-reliefs with banquet scenes, are represented slaves who draw wine from large craters and serve it to diners in overflowing cups.
Even the Old Testament Jews, who attributed to Noah planting the first vineyard, considered the screw "one of the most precious possessions of man" (The King) and extolled the wine "gladdens the heart of the deadly" (Psalms) . In the greek world wine was considered a gift of the gods and all the myths agree in attributing to Dionysus, the youngest immortal son of Zeus, the introduction of the cultivation of the vine among men, so that Dionysus, the god of wine , was the object of worship not only among the Greeks, but also in Etruria, where he was identified with the rural Fufluns deities, and then in the Roman world, where he was known as Bacchus and reconnected to Liber, ancient Latin god of fertility.
