AROUND WOYZECK
This exhibition about Woyzeck is the third part of an ideal trilogy on which Nanni had been working for the last ten years: Lulu (Banca d'Italia exhibition, 1996), Don Giovanni (Galleria Navona 42, Teatro Valle, 1997) and now Woyzeck or Wozzeck (Teatro Quirino), seeing that he get this violent fascination from Berg opera (as it happened with Lulu). The travel Nanni made "around" Woyzeck led him within the "moulded form" of Buchner writing. As the modeller-writer would have sketched his features with the procedure such as wasted wax and, inside, within the ductile soul, in the empty space (where everyone can put his own phantasms) Nanni should carry out colour made characters instead of bodies covered with flesh. To all appeareance, it deals with a meta-pictorial procedure: in fact, the material to transform into an image is an intellectual experience, but Nanni (as Fussli already made with the shakespearian characters) puts on a Woyzeck play without actors, that is to say paraphrasing Saxl "with images considered like a text with signs instead of words", re-establishing the painting autonomy even if in close fusion with theater language. It is not important to perceive clearly the connections, its existence is sufficient to re-create the atmosphere, the urgent following of drama or to perpetuate a deep, even vague, memory. Nanni's visions show a strong analogous buchnerian "ductus". Nanni has perceived that Woyzeck belonged to the artist's world, to the "madmen of God" with a clear behaving, who are distant from the appearance of things, from the established rules of "usual" living, conscious to have to answer only to themselves for their own actions.
Nicoletta Zanella