IL MURO. The reasons behind the title of the issue can be found in 1939, not so far, the year of the first publishing of Jean Paul Sartre’s tales book The Wall. A suggestive link, not casual, since the wall is the symbol both of the limit and the projection, borderline and container, starting point from where must open a way through (or many ways through). The wall is malleable space, surface of posting and so of communicating, place where a critical and active gaze meets and investigates on a complex, changing reality. Walking on the dimension and the space of a perforated screen, like a fissure in the visual field, IL MURO collects contents based on a Critic and History of Art and Visual culture that comes across disciplines, breaking the idea of sectorial knowledge, bashing in the academic compartments.
The bilingual edition looks for the magazine’s international placement to reach a various audience, keeping clear the Italian roots which are the conceptual cornerstone in a glocal way. The interdisciplinary vision is also the main structure of a corpus of essays about History, Philosophy, Image Psychology, about challenges of the contemporary art restoration, complexity of new media and also about topics which embrace innovative methods e updated critical approaches that go beyond the academic path.
IL MURO is the result of a precious interaction between a group of young historical-artistic sector professionals based in Italy and in foreign Countries. There is a focus on contemporary coming together with a deep knowledge of the Past: the crossing gaze is not only about disciplines but also about centuries.
The torment of a restless rain, of a polyhedral mise en scène of reality, makes the wall, il muro, as a surface of the never-ending story of the eye.
«[…] finally I would look at the screen and would see fluorescent chalk, and shimmering landscapes streaked with rain; it was always raining, even in bright sunshine, even inside a flat; sometimes a fiery planet would cross a baroness’s drawing-room without her appearing to be surprised. I used to love that rain, that restless disquiet which tormented the wall. […] The cinema was a dubious phenomenon which I loved perversely for what it still lacked. […] I was present at the frenzies of a wall».
(J.P. Sartre, Words, 1964).