I deleted at least thirteen times the beginning of this text. About Emilio Isgrò I cannot find the right words.
 Until September 25, 2016 Milan will host a major retrospective dedicated to Emilio Isgrò, staged simultaneously in 3 multiple locations, curated by Marco Bazzini. The project is sponsored and produced by the City of Milan – Culture, Palazzo Reale, Intesa Sanpaolo, the Centro Nazionale Studi Manzoniani, and the publishing house Electa, and arises out of an idea by the Archivio Emilio Isgrò.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

“I declare I am not Emilio Isgrò” accompanies “I declare I am Emilio Isgrò”: never beginning was so clear! Erasure, erasure, erasure, name: culmination of a journey started in ’71 when Isgrò revolutionized the art scene with the declaration of non-identity. And my travel too begins here.
White background, in the center a series of fine horizontal black lines: they are 1,000,000,000,000,000 … Chinese, they are “Visual Poetry”.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

White background, a 280×896 cm wall containing one hundred and sixteen equal circles variously distributed: they are “Giap” , they are the question “From which of the one hundred and sixteen circles will General Giap move for the final offensive?”, dedicated to one prominent figure of the Vietnam war.
 White background, inside the gray rectangle to the right, black arrow with a writing below, black on white: I am “Jacqueline” where “Jacqueline (indicated by the arrow) bends over the dying husband.” The image of one of the darkest events in American history is in front of my eyes.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

From the text of the “Holy Bible” I read only “Ezekiel”; from the geographic atlas of “Moscow” I see only its geopolitical; from “Liebe Erna” I find out the author’s self-deleted words that reveals “so hard to spend the life in a flower; no, yes”; until I lose myself for “the lost thread and …” of “Quel filo” of 1973.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

But once I arrive at ‘‘Enciclopedia Treccani “I find the “mine “.
In the “Model Italy” lurks our future.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

I follow the ants crossing our Constitution. I meet the new contemporary Italy with its “Annuities and profits” and its “Government debt cancellation”.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

“Karl Marx (on the left) eats into the red dressed in red” while “Friedrich Engels (on the right) drinks in the red dressed in red”: in these red stories the mythological political personages appear monochromatically camouflaged, sarcastically reduced to their familiarity.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

It seems to me I can see that, “Chou En-lai (on the right) smiles in yellow dress in yellow ” (from “Triptych of the Cultural Revolution”).

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

“God our Lord creates this red and called it Jesus.” Red is the stain of “The Red and the stain”. It lies alive in the lower left of a canvas mounted on wood.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

 I bleed sincere, I am struck. I am hurt and I carry the signs of excellent movement of the art by Isgrò.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

I listen to “Chopin” read by Isgrò. I move in the dim light of a concert / installation of fifteen pianos. I see a red rose on the white keys of the central instrument.

Eloisa Reverie Vezzosi, Emilio Isgrò, MilanoThere are no dedications, nor gifts, nor revivals. It’s the theater by Isgrò where reigns the ” art of drama as the disparity between expectations and results. Because the disproportion often results in a dramatic turn of events”.
Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

 I decide to act on the scene. I’m dancing. I had never put on ballerina shoes before.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

I discover “The Italian Hour”. Presented for the first time in 1986 at the Civic Archaeological Museum of Bologna, it narrates the slaughter that struck the city a few years earlier.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

Twenty rounds hung at the same height, carry the burden of pain and each bear one clock, as if in their lap. Tic, tack, tic, tack, tic, tack. There is no onomatopoeia: no written word can represent the word shouted by these twenty separate voices.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

 2:05, 10:30 …at 2:25 everything explodes.

Broken the time. Broken the space. The art of Isgrò teaches that nothing of what is deleted actually disappears, indeed thrives on new life: “The Relativity seed”.
“Passionately”, “necessarily”, “joyously”: I throw seeds of the “Semiseme” on the museum ground.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

“I declare I am not Galileo Galilei.”
“I declare I am not Girolamo Savonarola.”
“I declare I am not Curzio Malaparte.”
Why Alessandro Manzoni?


Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

I leave the Palazzo Reale through “The Orpheus’s cabal”, “The sleep of Zoroaster”, “The arch of the Chaldeans”, “Unum”, “Finis” and “The Apollo of darkness,” walking past the Duomo of Milan and reaching the Galleries of Italy, dwelling among others of Canova, Hayez and Boccioni. I go down in caveau. Non had never entered a vault with dancing shoes and to see part of an exhibit. The treasure that appears before me is “The eye of Alessandro Manzoni.” I take a bow.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

I go out furtively and enter tiptoeing in Casa del Manzoni. I knock, I look in and to welcome me there are “The Betrothed (Promessi Sposi) canceled for twenty-five readers and ten lepers”: they are twenty-five volumes (more ten). “The nun of Monza” next to “The Unfortunate replied,” “I, the Unnamed” close to “Cecilia’s mother”: and it is as if time had stopped again. “I have never deleted: I represented a world that erases. It erases the diversity, it erases cultures”
I deleted at least thirteen times the end of this text, and then I decided to end it this way. I hope that the master will forgive me for this … But I am sure he will understand.

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

Eloisa Reverie Vezzosi, Emilio Isgrò, Milano

Credits
Special thanks to WOK Store for the Comme Des Garçons’ dress.
Hair: Roberto Sacco – Grazia Basso Milano
Photo: Marcella Carlotta Magalotti

AMOlinks:
arte.it/mostra-emilio-isgrò
gallerieditalia.com/isgro-milano/
electaweb.it/catalogo/scheda