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· Birth of tragedy II (2009)

The Birth of Tragedy is the first part of a series of two animated films in which I reflect on the work of Nietzsche as an excuse to reflect on the relationship of the viewer of the artwork with the work itself and in turn the relationship of the artwork to the world it represents. The artwork masquerading as the world itself and the viewer who contemplates the mask and not the world but a grotesque reflection of it.


According to Nietzsche, there is a major confrontation of theories about which are the true origins of the Tragedy. Conventional wisdom points the choir as the origin. The mass of anonymous masked persons acting in unison. On the other hand, the theory of AW Schlegel proposed the viewers themselves as perfect chorus. This theory, for Nietzsche is not scientific but is much brighter .

Nietzsche also develops the issue of autonomy of the spectator as a fundamental element of the show, and the show as absurd and meaningless without the viewer. Here we find the fundamental reference to my work (taking it as something generic, this statement can be extended to the rest of my painting, sculpture etc...).

The introduction of the chorus in the theater involves explicit renounce of any naturalistic feature. With the emergence of the choir, the work becomes symbolic, the stage itself is a symbol, and the viewer will not succumb to the temptation to never forget that this is a representation witnessing. Taking this as a starting point to work on the representation in relation to the symbolic, I borrow the concept of Nietzsche to discuss the symbolism of objects (understanding the tragedy in a generic sense, as a representation, I mean, tragedy and comedy, the act of concealment).


Watercolor animation. 17x13 cm. 228 pieces.

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