The Hanged Man (L’appeso)
The Hermit (L’eremita)
The Lovers (Gli amanti)
The Chariot (Il carro)
The Devil (Il diavolo)
Judgement (Il giudizio)
The Wizard (Il mago)
The Fool (Il matto)
The World (Il mondo)
The Pope (Il Papa)
The Sun (Il Sole)
The Emperor (L’imperatore)
The Empress (L’imperatrice)
Strength (La forza)
Justice (La giustizia)
The Moon (La Luna)
Death (La Morte)
The High Priestess (La papessa)
The Wheel of Fortune (La Ruota)
Temperance (La temperanza)
The Tower (La Torre)
The Star (Le Stelle)
Back side of the tarot cards
在这种充裕中，词汇在积累的含义中互相遵循，而这些含义的实质在COVID-19流行病期间——此刻处于危险中并且未来受到威胁——是无法在其他地方实现的。在构建全球化的世界中，选择战略一致在消除各种多样而独特的“他者”。它们已经被金钱统治的全球经济取代，而金钱正变得越来越无关紧要。摆脱多样性也意味着铲除事物的多样性，包括它们罪恶的一面。在这种同质的情况下，选择一个不确定且易变的敌人也是必要的，这样才能使这个由矛盾理论统治的世界保持平衡。这个名为“Chaos del tri per Uno”的塔罗牌项目，通过撕裂和解剖世界，对“腐蚀”进行重复而神奇的尝试。最终的目标不是要找到事物的终极本质，而是品味灵魂无法想象的深度，因为——借用普罗提努的话——连上帝也没发现它的极限。
There is a solitude of space
A solitude of sea
A solitude of death, but these
Society shall be
Compared with that profounder site
That polar privacy
A soul admitted to itself –
The geographer Baron tells us about a group of indigenous people, the Papuans, whose language is scanty: Each tribe has its own dialect, which loses constantly some words. After each death in the tribe, the use of some terms is prohibited as an expression of grief. This is a metaphorical and symbolic gesture of great depth.
In our contemporary languages, on the contrary, words appear limitless in their being limited: A strange “economics of abundance” dominates, together with a disinterest for use value.
In this profusion, words follow one another in an accumulation of meanings whose truth is somewhere else, a place that during the COVID-19 pandemic couldn’t be reached: In this moment it is endangered, and in the future it is threatening. In constructing a global world, the strategy of choice has been eliminating the ‘other’ in all of its diverse and unique forms. They have been replaced by a global economy governed by money, which is increasingly immaterial. Getting rid of diversity means also eradicating the manifold of things, including their evil side. In this homogenous scenario, choosing an enemy, undefined and mutable, is necessary in order to bring equilibrium to a world governed by an unshakable theory of the contraries. This project about tarots entitled “Chaos del tri per uno” is a tautological and magical attempt at “eroding,” splitting into fragments, and dissecting the world. This final goal is not to find the ultimate essence of things, but to savor the unconceivable depth of the soul, for – by paraphrasing Plotinus – not even God has found its limits.
By Luo Xuemei and Ning Yanxin
Tarot cards are mystic amulets that connect to feelings of bewilderments and desire in people’s hearts. During the Covid-19 pandemic, Italian artist Gerardo Paoletti has been trying to reveal the collective unconscious that people are sharing under present circumstances: His tarots presents a conflicting, broken, and chaotic world – as the one we are living in. The artist used digital technologies to create this series of works, which mix visual representation, video, and sounds. Each one of the twenty-two cards is named after one of the Major Arcana, which is how occultists call the trump cards of a tarot pack. With this, Paoletti aims at revealing the complex and mysterious nature of our world on turmoil.
“Death is a universal topic of reflection, which stimulates an endless array of conjectures and attempts at finding the truth about an unknown world”
In today’s society, information, science, politics, and globalization often enter in conflict with each other. The artist explores this moment filled with friction and tension by using the language of death. By referring to an idea of Luigi Pirandello, a famous Italian author, Paoletti suggests that we refer over and over again to the “language of the dead,” that is, we constantly refer to what has already happened, cause today is somewhat a repetition of yesterday. We are living a moment that is far from being unique. In human civilization, in effect, death is a universal topic of reflection, which stimulates an endless array of conjectures and attempts at finding the truth about an unknown world. In these tarot cards, the images of skeletons, demons in red, and other monstrous characters are common. They are images that inhabit the macabre visual imagery of the Middle Ages. Around the 14th century, the black plague – a terrible messenger of terror and death — arrived in Europe just like apocalypse. The ugly, painful, and sudden death that those infected suffered turned the material world into a living hell. Life and death became blurred, one’s existence reduced to a destiny of solitude and desperate darkness.
The sixteenth card of the series, “The Tower,” well represents these moments of destruction, which is its associated traditional meaning. In the work, the background of blue sky is covered by a spreading golden leaf, which appears as a reference of the fire of hell. Images in different colors of the corona virus are falling from above, echoing in an important way how the plague was described in the Middle Ages: Arrows coming down from heaven. A streak of lightning ignites the building and dark smoke fills the air. The king of hell, whose monstrous body resembles that of a red giraffe with wings on its back, is holding a flag of the virus on the top of the burning tower. Demons of terrifying appearances are coming out of the windows crying desperately for a way out of what has become a death trap – a scene that resembles Fra Angelico’s depiction of hell in his Last Judgement. As Paoletti says, in creating a globalized world, diversity – in its mix of good and evil sides – is suppressed. The lower part of the building uses Leonardo’s Vitruvian Man as decorative pattern. The balance of the architectural structure and the perfect proportion of the human body seem to bring a distant idea of human civilization into this grotesque world. In the foreground, right next to the burning tower, a devilish figure in business clothes is using a shovel clearing up instances of the virus found on the ground. He wears a crown and a bird-like mask. The image reminds us of plague doctors with their long, beaked masks as found in Paul Fürst’s works. Under his mask, this demonic figure is putting on a grisly smile, which we can hear resonating, as if he were enjoying this moment right before the “triumph of destruction.”
“Paoletti here deconstructs the complexity and diversity of the real world, while reconstructing a new one”
The twenty-first card, entitled “The world,” represents a half globe which is occupied by death and demons. On top of this half globe, a skeletal rooster sitting on the toilet is lost in deep thought and frozen from the action. The other half of the earth is replaced by piles of rubbish as well as instances of the virus. What appears as toxic waste is pouring out of the earth. The devil who has lost his home is waving a white flag in the garbage. The skeletal rooster brings together classic symbols and creates a novel contemporary iconography. In Italian culture, the rooster represents someone who is arrogant and belligerent, while the skeleton is a powerful reminder of death. And wings indicate an immortal soul. Instead of fear, this image brings us a sense of sympathy. According to classical mythology, the world is governed by four elements: air, water, earth and fire. But all of these elements are now endangered by human activity. Pollution can damage everything that is good in our planet. If sustainable alternatives will not be found, the earth would run out of its precious resources. In the end, even devils and demons will not find a place where to stay.
The behavior of human beings has changed the world. Classic symbolism is looking for being redesigned. Paoletti here deconstructs the complexity and diversity of the real world, while reconstructing a new one. In his works, death is not just a theme, but a language of expression. In today’s fight between humans and the pandemic, we are required to establish a new faith in this world. Death is just a way to confront and explore our souls, and to reflect on the meaning and the essence of this world.
他经常作为艺术家和平面设计师与博物馆和最重要的意大利时尚品牌合作。2003年，“Il Giardino di Daniel Spoerri, Hic Terminus Haeret”基金会授予他一个常驻舞台，他在这个公园创造用于展示的定点作品。他参加过许多重要的国际展览，例如由埃利卡·卡瓦列雷在米兰斯特丽奈基金会筹办的“Miti, leggende e storia nella nascita di una citta’– Milano compie 2500 anni”；由布鲁诺·科拉在皮斯托亚法布罗尼宫博物馆筹办的“Abitanti”；由皮尔路易吉·塔齐，塞尔吉奥·里萨里蒂和布鲁诺·科拉，在锡耶纳-利沃诺-普拉托-弗洛伦斯-都灵筹办的“Network”；由瓦莱里奥·德奥在安科纳埃利卡博物馆筹办的“Abstraction, ordine e immaginazione”；由奇亚拉·卡纳利，皮斯托亚-马萨罗萨-都灵筹办的“Le stagioni del nostro amore”；由克劳迪奥·乔尔格蒂在皮斯托亚筹办的“Apocalisse di San Giovanni”；与托斯卡纳大区、自由党及卡波内托基金会合作在佛罗伦萨-普拉托-里窝那-皮斯托亚开展“La mafia siamo noi”；由瓦莱里奥·德奥在皮斯托亚法布罗尼博物馆筹办的“La carne, la morte e il diavolo”。2015年，他成为表演艺术节的合作者。
Gerardo Paoletti was born in Prato on 06/06/1974, lives and works in Pistoia, Italy. He studied painting at the Academy of Fine Arts in Florence.
He works actively as artist and graphic designer collaborating with museums and with the most important Italian fashion brands. He was awarded a resident stage in 2003 by the Fondazione “Il Giardino di Daniel Spoerri, Hic Terminus Haeret”, where he produced a site-specific work for display in the park. He has participated in important international exhibitions such as “Miti, leggende e storia nella nascita di una citta’ – Milano compie 2500 anni” curated by Alik Cavaliere at the Stelline Foundation, Milan; “Abitanti” curated by Bruno Corà at the Palazzo Fabroni Museum, Pistoia; “Networking” curated by Pierluigi Tazzi, Sergio Risaliti and Bruno Corà, Siena-Livorno-Prato-Florence-Turin; “Abstraction, ordine e immaginazione” curated by Valerio Dehò at the Elica Museum, Ancona; “Le stagioni del nostro amore” curated by Chiara Canali, Pistoia-Massarosa-Turin; “Apocalisse di San Giovanni” curated by Claudio Giorgetti, Pistoia; in collaboration with Regione Toscana and the Libera and Caponnetto foundations “La mafia siamo noi”, Florence-Prato-Livorno-Pistoia; “La carne, la morte e il diavolo” curated by Valerio Dehò at Palazzo Fabroni museum, Pistoia. Since 2015 he is co-author of the Performance Art Festival (PAF).