Where? Centre de Culture Contemporania de Barcelona
Text from CCCB web-site:
Picking up the thread of the “Cities and their Writers” series that the CCCB began a few years ago, this exhibition is an invitation to discover the city of Trieste, guided by the Trieste-born writer Claudio Magris and his books.
Trieste is a border city, a mix of languages and cultures: Italian, Germanic and Slavic. Its unique geopolitical location has marked its character throughout its history, up until the present day.
This Italian city is known and renowned for having been the birthplace or home of some of the foremost writers and intellectuals of recent centuries: Italo Svevo, Umberto Saba, Rainer Maria Rilke, Scipio Slataper, James Joyce…
In this exhibition, Claudio Magris is the leading thread and point of connection with his city. Magris’s extraordinary and complex texts often refer to Trieste, its personages, both anonymous and famous, to the history of the city and to the writer’s own memories. The exhibition curator, Italian theatre director Giorgio Pressburger, a good friend of Magris and, like him, Trieste-born, has stepped into Magris’s body of work to bring it to life. The result is the exhibition “THE TRIESTE OF MAGRIS”, now presented at the CCCB, designed by Paola Navone (Otto Studio, Milan).
Visitors need all five senses to find their way round the exhibition. They will feel the force of the bora, Trieste’s wind, feel the stones of the Karst Plateau and sense the Adriatic Sea, be surprised by the clamour of war and listen to Triestine songs. They can sit in the famous Caffè San Marco and enter the well-known Antiquaria bookshop, and follow the Danube, in the form of an evocation of its course through Central Europe, in a reading of excerpts from Magris’s famous book of the same name.
The show includes a whole range of materials, from audiovisual installations, original objects and paintings to readings of literary passages and even a film, Dietro il buio (Behind the Darkness), specially produced on the basis of Magris’s text, Lei dunque capirà.
The city and its literary frontiersHistorically viewed as a strategic crossroads, the Adriatic city of Trieste (Italy) holds a number of stories where human relationships and boundaries, in its broadest sense-are the key players. The Centre of Contemporary Culture of Barcelona presented to the July 17 an exhibition that explores the relationship of this city with writers such as Claudio Magris. Nicoletta text BONI photos CCCB
The wind that the ancient Greeks feared most was the North: Boreas. According to mythological representations, it was a bearded man, with hair and puffy cheeks revolt in the act of blowing.In the city of Trieste, in the northeast corner of Italy, a wind blows, although not abducts young women and tells the story of Boreas and Oreithyia, has a similar name, Bora, referring to the northern wind, Boreal, comes from the east or northeast and shakes stocks of people with dry and sudden gusts, which called refoli Trieste.From Giani speaks Stuparich bora, author of The Island Trieste, who remembers her as a renewal movement that runs from the hills and down to the sea, carrying scents of pine trees and stones and returning to the city limpid and smooth colors. More recently, another writer Trieste, Mauro Covacich, in its guidelines Sottosopra Trieste (which could be translated as "Trieste, upside down") defines the bora as "a perfect synthesis of the spirit of the city" because, explains the author , born of the encounter between a Nordic and a Mediterranean climate, being situated between the tip of Trieste a warm sea and inland, the cold plateau of Carso.The description of the proposed Covacich bora is useful to delve into more aspects of the city, his words suggest others, such as contrasts, contradictions, boundaries, which can not be ignored at the time of narrating this earth.
Dichotomy boundarySpeaking of borders and Trieste, the name no doubt is to pronounce Claudio Magris, whose literature would not exist without the concepts of roots and rootlessness, otherness, border. His literary pages, from the Danube to Microcosm, from Utopia and disillusionment to another sea, studying the relationship between humans and the border, whether personal, geographic, cultural or temporal, and investigate the routes of zooming about it. Magris defines some of the masterpieces of literature Mitteleuropean as "a dictionary or encyclopedia of life", whereas its literature is a great atlas of humanity where the limits, if well marked, get into a universal membership, with a careful analysis of the pendulum between the microcosm and the macrocosm.In Utopia and disillusionment, the author recalls the weight that had boundaries in childhood and adolescence, the trip postwar Italian exiles from Istria and the Italian Communists and Stalinists, first to Yugoslavia, and then to the gulags of Titus, places that Isola has also spoken in Serbia Dunja nuda Badnjievi writer.In his reflection on border issues, Magris says: "The border is twofold, ambiguous, and in some cases is a bridge to the other and other barrier to reject it. (...) The literature, among other things, is also a journey in search of the refutation of this myth on the other side (...) There are cities that are at the border and other borders that are inside and are made for them. "There is a small book of Trieste, published in 1951, which includes impressions of the city twenty-one written between 1793 and 1887, among them is one of the Emperor of Mexico, Maximilian, who observed, dropping from the North, the wonderful panorama of the city: the view over the sea, vineyards and the climate gradually becomes more temperate. It's the same landscape that fascinates Nordic writers as Hans Christian Andersen and Henrik Ibsen. The volume also included the memory of Sir Richard Burton, British diplomat, explorer, orientalist scholar and translator of The Thousand and One Nights and the Kama Sutra. His biography, as told by his wife Isabel, Trieste us back to the second half of the nineteenth century, a city populated by Slavs, Italians, Austrians, British, Jews and Greeks, which speaks a wide variety of languages.
The nation "Trieste"Today, Trieste is spoken in Italian, Slovenian and Trieste dialect. One representative of the Slovenian minority is the writer Boris Pahor, a witness, with his autobiographical novel, Necropolis, the horrors perpetrated in the concentration camps. Pahor Topics covered by some of his works are sadly related to the history of Trieste, a city that unfortunately can look to the presence in its territory, the Risiera di San Sabba, the only Nazi concentration camp in Italy, and di Basovizza foibe, the term indicates foibe deep cavities in the rocks of the Carso, where they were thrown thousands of Italians, Slovenes and Croats, or anti exfascistas.Although among the oldest of those reflections twenty-one talk of Trieste compiled primarily as a meeting place and crossroads of several cultures, nineteenth-century biography of Burton notes that what is the ruin of the city is barren policy and highlights the distance between Austrian and Italian, recalling the riots and bombings of Italianissimi in the second half of the nineteenth. Angelo Ara and Claudio Magris in Trieste. Border identity emphasize how the city is no longer a "melting pot archipelago" from 1848, when national struggles begin and end "stage of that 'nation Trieste' which until then had conceived his Italian as a cultural, but now began to feel as a political objective. "In 1861, the year of unification of nearby Italy, born in Trieste, Italo Svevo, the writer who in 1919 would begin The Confessions of Zeno, the piece that will test again citing Magris, "an analytical passion that breaks every unit with the aim of creating a universal dictionary of life. " One of the fellow with whom Svevo often ask about his writings is his English teacher, James Joyce. In the city, as he himself says, "I had eaten the liver," the Irish writer living teaching English, speaking the dialect of Trieste, frequenting taverns and the Café San Marco, one of the microcosms reported by Magris, and starting to write the chapters of Ulysses.Old port of the Austro-Hungarian and, until recent years, a true gateway to the East, the East or, looking from the other side, the border we had to cross to reach the West, the city of Trieste is a place where it is understood how important it can be just for a land border, several belongings or drop like this, a process of searching for an identity and a name and a language you say it, for his own house and home.In fact, Magris says the "Trieste" finds its true home in the literature and, perhaps for that reason, Trieste is, more than any other city, its literature.
Writers in the edgeDefinition is used to discuss the authors Trieste, and biographies explain why, among them, remember the novelist Fulvio Tomizza that Italian-born Croatian land now, moves in the years 1950 to Trieste. A few years earlier, the treaty signed after World War II had established the limits of the liberated territory, a buffer zone ruled by the military allies (A) and the Yugoslav military (B). In 1954, Zone A and Zone B pass, provisional and respectively, Italy and Yugoslavia, and only twenty years later, that division is declared final. Meanwhile, in 1960, the town's name Tomizza source, located on the Istrian peninsula, became the title of his first, and beautiful, novel: Mater.We are located in Trieste, a city that "has a surly / grace" and "where sorrows are many, / and the beauty of heaven and neighborhood," she writes of her poet Umberto Saba. We are in the Piazza d'Italia dell'Unità, compared to the Adriatic Sea, and the mind is moved to the Praça do Comercio Lisbon, with which he seems to share certain traits, perhaps because she is, again, in another and distinSct border. However, we're here in the eastern part of Italy, in the northernmost part of the Adriatic lands in the southernmost part of the former Austro-Hungarian territories of East and West of yesteryear, alongside Slovenia and Croatia. Far from where, about what?