The world of towers, subtitled “from Babylon to Manhattan,” brought me, for this publication edited by Mazzotta, with a cover by Armando Testa, into contact with Paolo Portoghesi, Gillo Dorfles, and Paolo Farina. It was 1990. A good year for me. Encounters with his architecture and his favour towards artists, dear to me such as Carlo Maria Mariani and Alberto Abate, led us to discuss the Mosque of Rome, the theatre of Catanzaro, his conception of postmodernism, the Strada Novissima, and Aldo Rossi's “Teatro del Mondo” on the waters of the Venice Biennale; without respecting chronology, starting from Borromini, whose work we shared as the beginning of an awareness of an eternal Baroque, which is not the photographic or traditionalist kind of "how beautiful, how stunning," but rather the declaration of the end of all monologues and the modern conception, which is as ancient as the Corpus Hermeticum of Hermes Trismegistus or the Post-Azimuthal references of the Kybalion, whereby "what is below is above, and what is inside is outside, to the right and to the left" are equivalent in infinite space.
Today we are in a grand Baroque, typical of modernity, which is eclectic par excellence, where all historical styles (no longer considered old, but ancient) coexist with the most current, most futuristic ones. Therefore, the avant-garde no longer exists, but rather 'also'. This is not in the name of a post-truth, which pastes everything together, good with bad, true with false, but in the name of a continuous search, which sees everything in the one and the one in the all. Contemplating (in a Pirandellian way) one, a hundred thousand, discarding the nobody, in the name of a pluralism, where error is not a sin, but an indispensable wedge, in infinite research and contemplation.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
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