“Il paese dei coppoloni” is the title of the new book by Vinicio Capossela. Needless to say, this is a bombastic story, full of wonder. Full of wonder and depth, as only Capossela fill the stories he tells. It does not matter whether it’s music, text, images. Everything is collected in a great suggestion and assume the profile of a great vision, which shows the ability of the author to settle on a narrative level always intense and original. The “efforts” of Capossela suggest, in a sense, his research, the route following by a restless but visionary mind, driven by a sensitivity and a talent definitely out of the ordinary. I said “efforts” because maybe this is all about. Attempts, exercises to sharpen the eye, to bring in a form of representation the visible and the invisible that directs the movements. Attention nothing mystical. Not in the religious sense, at least. If there is a mystical in the art of Capossela and, especially in his language, used in fiction and in his narratives, takes on a sense of liberation. A sense that is inextricably linked to the ability to read the events “poetically”, identifying balances and contradictions, and elevating the shapes they assume in a more ineffable. I said “efforts” because Capossela is an experimenter. And those who experience does this: processes, assembles and shares, and then assess its impact on users and start the analysis from this very new “social” phase of the work. There are albums, which are always different, theme and style. There are projects that convey its voices: from festivals to reading, from concerts to documentaries (“Indebito”, the film produced by Andrea Segre on rebetiko came out a few months ago and coincided with his book “Tifteri” and its music collection devoted to Greece “Rebetiko Gymnastas”). And there are the books: “Il paese dei coppoloni” is the latest in a successful and original series. It is officially released April 1. It fits – we can say risking a little ‘general interpretation – in the “efforts” of understanding and connection with one of the stories that have “made” Capossela we know: the province, the south of our country and, in general (as had been in part anticipated with the work on Greece), the recognition of a number of elements that may represent a kind of counterpoint to the mainstream cultural production and the dynamics more passively shared in contemporary societies.
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