Friday 8th June

I try to leave no loose ends. The relations net are ready. Claudio runs from the square and his house. In the morning we have consolidated the three days program counting on the artists who have joined. Naturally there are some problems and as we are not a big organization but only an association given up to cultural voluntary service, we can only try to plug problems!

Anna Seccia, from Pescara, arrives after 7 hours travelling: we talk about all the joys and all the problems of culture, the creativity and also of our personal history. But I must complete the Mail Art Show with Patrizia and the panel of Creative, therefore I also involve her in the hard enterprise. She goes to her the hotel. I spread myself on the bed.

After little time comes Umberto Esposti arrives with a camper from Lodi: he parks and comes to me. We talk for a couple of hours we talk about sculptures, job, travels, and familiar vicissitudes. It is late, he goes to the encounter point and I prepare myself. We must carry the computers and the panel; it is better going in our van! I arrive and I'm encircled by friends: the Strada, the Santini del Prete. I go to see the Mail Art Show, "Nè servi, Nè padroni" (“Neither servants nor masters”) being composed of approximately 200 works from 21 countries ready to be hang up in the stand. I meet Fabio “Troglodita”, the photos are made, the Santini give me theirs works. Lucia Bencistà (ex council member) arrives, then the Mayor and I introduce her to several artists she doesn't know. We must go, other artists are waiting for us.

The room is well furnished. Claudio is touched about this. I find Anna Seccia, I see Carla Bertola and Alberto Vitacchio, and Yolanda Herreras from Madrid. I greet some friends while Lorenzo and Patrizia are preparing the computers and the projector. Umberto Esposti is a little worried for Maurizio Vitiello, but then he phones saying that tomorrow morning he will be with us. The supper starts with some hors-d'oeuvre right for a Cen' Arte (Art Dinner). The hall is quite full. Claudio and I introduce the evening, the artists, and then we give the microphone to the Mayor for the official hello.

The evening performance is opened by the Strada, with a somehow acrobat serenade. Plates continue coming with a good adhesion to the fantasy titles I had given them. Claudio, Irene and I execute NAT for dancing, computer and harness-bells. Carla Bertola recites two poetry receipts, Alberto Vitacchio a little monologue. The Cen' Arte finishes with an extraordinary poetry cream, and we honour the cooks. The Santini want everybody on the terrace, and down in the public square in front of the exposure stands they set fire to a red smoke-producing: is a beautiful image. Then they go back dressed as railwaymen with their critic/gadget Patrizia Landi. Together we return into the room in order to see the video of Anna Seccia, but it is springing, and it doesn't go! We stop it. In the room there is a projector so we decide to try with that one. In the meantime, Yolanda Pérez Herreras has decided to do the performance “Melting”: in a hand she's got a glass and some ice-cubes, she seats in front of a person taking some ice in her mouth and putting an ice-cub in her mouth she melts it, putting the person into uneasiness for every implications that are revealed. The video works, therefore, we go into the room in order to see "La stanza del colore" (“The room of the colour”) in religious silence. What about the sound? Within us! Unfortunately we must postpone the video of Aldo Adinolfi, Maurizio Follin, Emilio Morandi and Adolfina De Stefani. And good bye until tomorrow.

Saturday 9th June
 

The time to write yesterday’s report and it is already time to go. The medium school pupils are waiting for us. In the street I meet Vittore Baroni with two of his friends. We enter, teacher Mannucci greets me and she says the pupils are entering the class. I go into the auditorium. The boys are coming, class after class, but artists are still not here. I say the preface on what they are going to experiment; I say that the performance is not a show but something that happens for and with them. Finally the artists arrive.

The class remembers perfectly last year encounter with the Strada and when I ask who wants to break the ice, there are few boys demanding for it. They distribute leaves made of paper with some song titles written on them. Then they lie down on the desk, Giovanni begins to play the harmonica while Anna Seccia reads the title in one of the leaves and throws it on the Strada, so every pupil follows her example, one by one. It's incredible, they seem to suffer of participation anxiety, they stand up in order to read, and they are arranged in a row, until the last one “performs”. At last the Strada covered stand up, let the leaves fall. Applauses.

I introduce Laura Cristin who explains her way as happy siren and proposes a listening performance. She will churn a “rain stick” and a boy some little bells; the others will delivery it to me. During the action I peal the little bells and Laura the stick. The boys even if with a little confusion participate actively.

At the end, I introduce Bertola and Vitacchio. At first Carla reads a poetry receipt about Quasimodo, and then with Alberto they carry the boys in a sonorous game on musical notes as well as words. The bell rings so we have to go. There is Anna Boschi to see when I will meet her; we greet ourselves with a large embrace. I go in the hall to greet the others that had come.

At three o'clock we return. Vittore Barons and his two friends Marco Maffei and GianLuca Copisti, have already arranged, in the meadow behind the cypresses, the incredible structure with the 40 hats for George Maciunas. It is a beautiful blow of eye. While I observe the variety of the shapes created from the Mail Art artists, the group of the Slan-Sandra Mazzini is coming to greet me. There is also PIF that I believed would not come. There is Sandra Mazzini parents who have carried the poetry book printed in her memory. It appears behind me Vitiello with his smile and Umberto that gives me his work, one burn on Plexiglas. Mandrino introduces me to his girlfriend Patrizia and it overflows me with gifts. I remember one in particular that make me smile: the pro-Creativa booklet.

Inside, Fabio from Troglodita Tribe, has extended his beautiful and original production of self-made booklets about the Società per Azioni Felici. He has assembled some pyramidal installations with printed pages. Monica Michelotti is preparing herself and shows me the objects of her performance: built and travelled postcards, a piece of stool elaborated as a musical instrument. The time passes by; we try to let every artist enter in the presentation. After several tentative, finally here we are! Vittore begins telling the exposure of the hat and inviting everyone to go in order to make one photo to insert in a series of stamps. Bertola continues, and so everybody. Until Umberto Esposti, when Vitiello tells the relationship with Lucio Fontana, his job as ceramist in Albissola in those years of great artistic ferment and his iron sculptures. The presentation is finished.

Vitiello starts with an exposure about Giacinto Gigante and Naples, the thing is long and when he wants to continue with Caravaggio and… I oppose, since the others are waiting for their performance. But when I forward my question, the others accept to let continue him. The 17 attendants passed by and as we are inside, Mandrino introduces his new poetry booklet "Miti" (“Myths”) hardly printed in the collection "Oltre i limiti" (“Beyond the limits”) and he reads a piece of it. Then everybody goes outside for Monica Michelotti performance: the Bausonatafluxus. She designs some pentagrams with red tapes and marks notes with postcards. The Slan acts a branch of poetry of voices and movements, of call-backs and spreads to cover and then to reveal, is a piece from the book of Christian Pretolani. It follows Laura Cristin with her Serenade of love of the infancy dream in the sea to swing herself with games of dolphins’ friends. Piero Viti appears in the centre of the large square overflow of bags, with his hat without bottom and the stick: he pose some sheets and he writes AttraversaMente, all crosses the hat making us smile. Then they loosen, finding again themselves and he gifts one of his works to the Municipe and Creativa. Anna Boschi on one side prepares herself for the “Lifting” in front of the mirror, next hats, but something doesn't go, there is something that does not satisfy her, to pull herself, to smooth down herself but… she reads a text, delivery a little sheet and turns a series of panels where there is the claim of the perfect woman, with perfect irony!

We with Soldato Democratico (Democratic Soldier) , Irene over a chair that mimes an airplane, the flight, the soldier, behind Claudio with his electric guitar and I with my sinthesizer to the computer. It continues Katia Di Stella placing Donaudi over a sheet, covering him with tapes and necklaces, scattering him of grains colours and searching him an equilibrium reading a text. I go to Vittore in order to wear a hat and make me the photo as the others have already done in a continuous 'pilgrimage'. Bertola and Vitacchio have been based on two chairs in the empty part of the large square while from the loudspeakers voices and sounds exit: we slowly are introduce in a travel through the USA, with tourist trivialities,  curiosities and common places. Donaudi reads two of his poems and one of Teresio Zaninetti died few months ago. Yolanda inflates a mini soccer goal; she poses it on the floor, takes the distance and with the chalk traces the penalty point. On the net of the soccer goal she attacks a sheet  written in it the word TROUBLE, then from a bundle of sheets she raises one, reads it, rolls it up and put it on the point, throws it and… goal! There are all words that defeat the trouble, but is has not finished. She takes another bundle and… there are the names of the participants in Creative, she rolls them up and pulls them. The thing is slow, long and then the fun is getting loosed from the public! This was the mysterious "Creativa tra i pali"(“Creative between the poles”)! We go into the room in order to see the video of Cobas "Ritratto di Artista"(“Portrait of an Artist”), but it is sure that technically we are devoid, the sonorous is much low and the light is still intense. We go home while the artists have supper.

At 21.30 we meet the group. We stop at the Mail Art exposure that is not lightened. We go taking the beacons, but the thorns do not enter. This problem puts us a little in a bad mood. Then we restart walking, until the public square of the Municipe that is however a usable space where we find wants and unit. The Slan group is already ready to recite a mosaic of poetry pieces with some irony. Renata Strada must give birth and Giovanni needs some help, Anna Seccia  volunteers, therefore, in means of the public square, come to light two teddy bears!! It was just what we needed to prepare us to listen to the poetry reading by Leonello Rabatti about the child of Shares thrown from the cliff because too much weak. It continues Mandrino reading other poems from “Myths”. Flavio Casella makes us smile with a story about cats recited in Milanese dialect. Donaudi closes the evening with his famous poem "La rivoluzione è un carciofo"("The revolution is an artichoke"). We melt the company and until tomorrow morning.

Sunday 10th June

When I arrive there is a sort of a half-naked Indian ostrich with a muzzle that is going around jumping in the room. Everybody tries to hunt it outside but he must deliver the bunch of paint-brushes that he holds in his fist. When he sees me he comes to me, he's knelt down and deliveries me the bunch. It's Dino Sileoni who then disappears. Maria Luisa arrives in order to know the manifestation; she's from Villafranca and for some time they have begun to organize some readings in the public square. I meet Aldo Cerasuolo known by Claudio in Carpineto. There are Gianni Broi and Bruno Capatti.

We sit down and begin the discussion by reading the letter from Alberto Rizzi against Creativa. There are remarkable cues of debate. The problem of the reimbursement; It is right the relief of Capatti, that  marks an immense uneasiness, that one of the reduction of the economic possibilities of some artists and that beyond the figure it represents, a strong marks of equality, of an acknowledgment to our efforts. We know this but the point was, crystallize the meeting and renounce to the catalogue, or increase the possibility of hospitality with bed places and free meals and continue the making of the catalogue. We have opted for the second. Another point: is the cure of the technical aspect, and unfortunately we are still devoid on it. But for the expectations, the side A art, and other stupid little thing nobody have shared. We have talked about the public and we have asked ourselves: which public, what type, what price? Vitacchio shares his artistic experiences at university and some circles. Cristin talks to us about the positive experience of yesterday, with the school. Broi has recalled us to the ideal that still bring us to do some experiences, to the idea of socialization of art. The Slan girl synthesizes with “we come because we stay here happy, we can freely introduce our works and meet interesting people from who we can learn”.

It's one o'clock, we must go to the "Tavolata poetica" ("Poetic table") . While we cross the road here arrives the agitated and smiling mass of Ettore Le Donne, it is a pleasure to meet him, but it would have been a bigger pleasure to have him during the discussion because the force with which he comes ahead his ideas through the art and the Oracolo. While we go Umiliacchi tells me about the CreaZine, which is more binding than he had foreseen, caused by the fact that many artists do not comprehend well what they have to do. I tell him not to worry; we can also send it after the manifestation. Everybody in the catering is ready to eat food and poetry, also the cooks, become accustomed by now to our presence. Claudio sings in eighth rhyme the dialogue of the washerwomen written by him for the comedy “la Bottega di Lio”. Mandrino recites one beautiful dedication to the cooks. Then a disquisition really interesting, tied to the previous discussion, on being in the "catering” synonymous of community and proletariat symbol, etc.. Donaudi reads one of his poems. Then an experiment: Vitacchio and I make the sounds of the synthesizer with our voices and Claudio reads NAT. Casella tells us a beautiful story about the topic "Nè servi Nè pardoni"("Neither servants Nor Masters"). Then we expire in two jokes and here PITIFULLY WE CLOSE. Also this year the sun has not abandoned us. In the large square it beats like a really hot hammer. In the room it seems quite fresh. With Umiliacchi we watch what it is ready for the CreaZine and we agree in order to finish it with calm. It was a crazy enterprise. The artists instead arrive with the material already digitized, they asked him to rewrite it all.

It will be for next year! While Bruno is already ready, with a large electric blower and one pile of white sheets, next Mandrel as reader of pieces from the Apocalypse. At the end of the reading Bruno turns in the blower and he begins to let hundred of sheets flying: it is a wind that upsets, turbine, hits the mind. The last sheet with an illustration of Durer: the Apocalypse, glued to the pavement. We all re-enter the room where Pucci and Rossella arranges their dress-objects: wear pages of a wearing book, the roots of the art and the dress for their gold wedding with the Art. In a candid paraded of wearing and exposure, until the renewal of their wedding consecration with Art, interpreted by Rossella. The Slan group, in order to recite, put in the centre of the room a mosaic of ironic witnesses about love. Liliana and Giovanna Ugolini have also arrived. Time of greeting and, as soon as possible, we make our way to the centre in order to execute the Claustrofonie of M.P. Meschini. Nearly a surrealistic gift to literature. With Aldo Cerasuolo we are in a full provocation. With calm he arranges materials on the pavement, he would have preferred tables… but in lack…, 8 plates well sluices with next a fork, then he looks for 8 persons that will be based in front of the plate. It's incredible, nobody wants to go, artists, performers that fear the surprise and then we wonder why there is no public!!! At last he succeeds in the search, someone tries to see what there is in the plate, but Aldo stops him. When everybody is seated, he asks to discover the plate and to eat everything! In reality there is a red and white plastic chain stitch, a homage to the topic "Nè servi Nè padroni" (" Neither servants Nor masters"). Mandrino reads and peforms other pieces from his book “Myths”. Carla Bertola carries us to the magical world of publicity where women can always have a young and beautiful body reciting some phrases. And they are true phrases!! Fulgor Silvi for his "Elogio della assenza"(“Praise of the absence”), arranges two chairs in the centre being seated down Capatti and Gagliano, a sheet in a hand and soldered glasses. Then he distributes some sheets with some words written on them, he asks to read them in a loud voice and afterwards the others clap their hands! In a complete chaos he goes away.

Recomposed the room Giovanna Ugolini recites the Spouse in black, while Liliana plays the music. Carole Davitti has arrived with his small exibition outside. There is not the darkness demanded, but we cannot wait for it, therefore Emanuele Gagliano and Irene Fusai do as well their action. Irene is in the centre wearing a black tunic and with a battery in a hand; Emanuele seats behind her with one candle in his hand; “The end” of Jim Morrison can be listened. He reads a poem while Irene rippers the darkness with the batteries light. Emanuele let the wax strained on a sheet where he writes: "Nè servi Nè padroni". Everybody goes out. Bertola and Vitacchio are exploding in resonances from the voice system and from the live. Upsets of echoes and returning. Donaudi shouts us two of his poems about the colon/colonialism. Other friends have arrived in order to see what  happens in this outside theatre, in the laboratory where everyone tries to communicate himself, own joy, own anguish, own creativity, but there is not time. Sailor Giovanni is landed and is looking for his Titina; he shouts and calls, nobody answers; Titina in red stockings and gloves kisses every male in the public; at last she goes to the sailor who now is sleeping, she wakes him up, he is happy to see her again and gives her all his confidence; the little scene is closed with a great dance. It is not late, but many artists begin to greet: they have hundreds of kilometres and stream of cars. Therefore Claudio proposes Yolanda Pérez Herreras performance as to end this evening and this edition. She show two empty hats, cuts some sheets in little pieces, folds them and places them into the hats; then, after have stirring them and have taken a Creativa depliant/program, she goes to the public, let a person pulls a sheet piece, let him read what she has written and then do the same one by one, until the last one. Then she comes to me and deliveries it to me as homage to Creativa. The eighth edition is ended, until next year! 

Franco Piri Focardi  English translation by Elena  Revised by Yolanda Perez Herreras