Once upon a time there were a “Catopleba”, a “Medusa con la bocca di Lucifero dell’Aldilà” (Medusa with the mouth of Lucifer of the Netherworld) and a “Farchio del Sud” (Southern Farchio)… We have all been children, before pretending to have become adults. 
In Via Monte di Pietà 23, until September 15, you can visit one of the most interesting exhibitions that have been in Milan: “Men like food.” Max Mara, in collaboration with Maramotti Collection, exhibits 40 works created by the children of the Atelier dell’Errore, visual arts laboratory for the Child Psychiatry AUSL of Reggio Emilia and the Hospitals of Bergamo. They are the fantastic creatures born from the fears of children.

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

Art is redeeming, it is a medicine that soothes the wounds of life. Art is social. Art is apotropaic. It is cathartic, it purifies, both in the act of carrying out the work and in its more superficial enjoyment. It dazzles you, it lights you up. If this was still valid over the centuries in history up to the self-portraits of Frida Kahlo and Francis Bacon and beyond, why then shouldn’t it be true for the young creators who have so many phobias as beauty in their uniqueness?

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

The “Vendetta Cattiveria Pura dell’Utopia” (“Revenge Sheer Badness of Utopia”) seems to me a flying elephant in shades of purple and apple green. This is the first monster that appears before my eyes in fear, and already it is clear the game of different readings, fantastic visions between humanization and pareidolia with which I shall have to deal with.

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

Three animals are one in front of the others: “Scoiattolo Tritaossa”, the “Tritaossa mangia parenti” and “Pangolino che sta vomitando per farsi notare da una femmina”. ( “Squirrel Bonegrinder”, the “Bonegrinder eats relatives” and “Pangolin which is puking in order to attract the attention of a female”). The clash is in the air and I decide to move away before they show their savagery under the watchful eye of the “Re della morte” (“King of Death”).

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

La “Furia buia morte sussurrante” “succhia la vita dal cuore delle persone” (“Fury dark whispering death” “sucks the life from the heart of the people”) and so evolves. With its double hooked fang, the “Tritatore di uomini TerraMare” (“EartSea men Mincer “) goes hunting for preys “in the banks of central Milan.” The “Carniforo” (“CarniFore”) torture bones, “Cracher” eats “cirlider” and their pom-poms, and the “Addentatore” (“Biter”) captures naked men.

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

Meanwhile, I wonder where can the imagination of children arrive?
“Il fratello cattivo dell’UccelloPapa” (“The evil brother of BirdPapa”) greets me and seems to dance. I close my eyes to the “Sonno vendicativo” (“vindictive Sleep”) , apparently a huge parrot with a quartered lung. Also fears “animalized” are not exempt from suffering … Fears? I believe now I got used to live with these creatures, that I will no longer call them “monsters.” In etymological meaning, monster is “prodigy, portent,” a divine sign deriving from the Latin “warning”. In its original sense, it is the sudden showing up of something extraordinary, that violates nature and that is a warning to humans.

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi
“Lo Squalatore Sessuale che si bacia le ferite” (“Sexual Climber-shark kissing his wounds”) takes me in front of the monumentality of ‘“Immane RagnoFerro di Curnasco”. (“immense SpiderIron from Curnasco”).

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

I had heard that it was huge, perhaps because devourer of all the fears of all those children who had bravely showed theirs. Or maybe because of all those fears, he also ate mine.
“It is an interesting but very dangerous thing. You have to think seriously about it, this is not a game”, the voice of one of the young creatives echoes from the videos in the last room, officially suffering from psychiatric disorders, but recognized as “artists”. Remember that the Atelier dell’Errore there is no error and in the world there has never been more fantastic error.

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

 

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

 

 

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

"Uomini come cibo", Atelier dell'Errore, Eloisa Reverie Vezzosi

#uominicomecibo #followtheartgirl

Credits:
Special thanks: Vivetta, Spazio 38
Photo: Viviana Bonafede

AMOlinks:
collezionemaramotti.org
maxmara.com
aterlierdellerrore.org
collectortribune.com