Pietro Di Corrado “Favolacce”

Di Corrado pays a tribute to his origins and surroundings, creating an eclectic explosion of strangeness. He joins bodily intuitions and inexpert scrabbles on graph paper with postmodern aesthetics, bowing to the political relevance of the movement and its attack and suspicion towards individuality, big scale utopias, reason and distinction between high and low culture. But where the postmodern failed – in deconstructing its link and affinity with capitalism – becomes the artist’s playground for experiments. The domestic takes on a particular relevance, but also the body and the diverse complexity that can be hidden all over, from a peripheral housing complex of Milan, to a contorted gate with no lock, a fable or a dark orifix. Pushing the limits between sophistication and awkwardness, and categories whatsoever, becomes an excuse to train the eye and the mind to ideas of multiplicity and imprecision, leaving space for a chaos of possibilities and collective fury.

Looking at Di Corrado’s works, a quote from Michel Serres’ Genesis comes to mind: “We live and think within the mix. Zebra-streaked, tiger-striped, variegated, motley, fleck-speckled, bedizened, star-spangled. We invent, we produce like the Demiurge, in and through the mix.”

Caterina Avataneo