Donnerstag, 28.03.2024 09:55 Uhr

Gabriele Tinti a Poet before Ancient art

Verantwortlicher Autor: Carlo Marino Rome, 15.10.2020, 20:19 Uhr
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Rome [ENA] Gabriele Tinti (born in Jesi,Italy, on 18th december 1979) is a poet, writer and art critic. It is certainly not usual to write inspired by the masterpieces of ancient art such as: The Boxer at rest, The Suicidal Galata, the Victorious Young Man (Athlete of Fano), the Barberini Faun, the Discobolus, The Parthenon Sculptures, the Farnese Hercules and many more. But it is a winning card of this artist, undoubtedly a

thought-provoking representative of the new Italian poetry. Tinti collaborates with institutions such as the Archaeological Museum of Naples, the Capitoline Museums, the National Roman Museum, the Ara Pacis Museum, the J. Paul Getty Museum in Los Angeles, the British Museum in London, the Metropolitan in New York, the LACMA of Los Angeles and the Glyptothek of Munich. In 2016 he published "Last words" (published by Skira Rizzoli) in partnership with the American artist Andres Serrano. In 2020, his new collection of poems in teamwork with the artist Roger Ballen has been released by Powerhouse Books (New York). The publisher Eris Press (London) collected the project "Ruins" in a volume in 2020.

The following is an Interview with Gabriele Tinti by Carlo Marino. Marino: It is not easy to interview a poet and above all a poet who is deliberately inspired by the classical world. How did your relationship with Western European antiquity arise in you? Tinti: Johann Joachim Winckelmann and Friedrich Nieztsche, my first readings, are the ones that formed me. Nieztsche in particular was a revelation. His concept of Greekness was vital, violent, explosive, dionysian. There is no doubt that Greek culture lives with us again. On the other hand, ghosts never come to disturb dead things. My poem is precisely a phantasmagoria, a series which let the remains speak, the fragments, what remains among the ruins.

Because the Spirit of the ancient world returns every time a kind of Aesthetics through the Tragic, Pathetic, is expressed. https://vimeo.com/136822158 Marino: Contemporaneity presents us with a substantial immobility, a lack of inspiration and a lack of depth and originality often due to the totalizing and globalized commodification. Despite this, poets continue to be inspired and to create, fortunately, like a Carsic River. Does the poet still have a social role today?

Tinti: Certainly the artists, the poets, continue to exist. Others will come "Wer das Dichten will verstehen,/ Muß ins Land der Dichtung gehen; Wer den Dichter will verstehen,/ Muß in Dichters Lande gehen" said Goethe. Yet we must recognize that our poetry no longer has the strength to become myth. It does not go beyond the monologue. It is inevitable not to be central anymore. https://www.youtube.com/watch?v=58ophDkqPhk&feature=youtu.be

Marino: Is there any risk that the medium of the message will become more important than the content? Tinti: Unfortunately in this case we depend on the reader. Are we sure that there is an audience today capable of going beyond the “Strega Prize”, the novels, the "literature"? Marino: You have composed verses about characters from Western mythology. What is the character that you might consider the most contemporary?

Tinti: There are many of them but of course Dionysus is the one who enlightened the culture following the enormous influence he had through Nietzsche's thought. Marino: The suggestion that one feels in your verses is that of the enchantment experienced in the face of the mystery, the disappearance of a world. After all, your verses often arise in front of fragments, a "disiecta membra". Is there still the possibility of being fascinated by the mystery, the unfinished, the unspoken?

Tinti: Yes, it has always been the only possible space for creation. Forcing one's limits, transfiguring one's fears trying to fill what is missing, the emptiness, the unknown, is the need that moves the poet. Marino:Your poem takes the reader to a sort of impossible museum. What do you think about it? Tinti: My poetry is preparation for death, prayer, lament. I don't know where it leads the reader. It certainly doesn't reassure him. Marino: Who were your teachers? Tinti: Archilochus, Anacreon, Leopards, the German romantics, the Russians: Sergej Esenin, Aleksandr Blok, Vladímir Mayakóvskij and then Jake La Motta, Angelo Dundee.

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