It must have been a mental association, strange but not entirely so, due to the death of his brother Arnaldo. The fact is that, as in a Pirandellian story where characters want to become theatre, his presence in my mind memoriosa, To put it in Borges' terms, it has become imperative and has begun its dictation, to become writing; and then I can only comply and I do comply. He is clearly Giò, of whom I remember a solemn and a precipitate argument with Gillo Dorfles, on the occasion of the exhibition's inauguration World of Towers, harsh words were spoken, portending the worst, but then, all of a sudden, everything calmed down, and a silence followed, so profound it seemed noisy. We were all embarrassed, being friends of Giò but deferring to the hieratic figure of Gillo; but then, suddenly, a mutual smile and an embrace. That was Giò, a leader and fighter, but Gandhian in his respect for others. Talking with him was a continuous discovery, the kind that acts as a ferry to knowledge, making it understanding, due to the fact that his mind could move with great fluidity from the minute detail of a jewel to the cathedralic scale of urban space, discussing the poeticism and aestheticism that can belong to the measure of beauty and the immeasurability of the sublime.
His remains a testament to Sociability of art, which has nothing to do with propaganda and obviousness, but with pedagogical and narrative ability, of to bring the big questions, within reach of many, if not all. This is demonstrated, like a visual theorem, by the Collective use plan from Ales, the birthplace of Antonio Gramsci, a politician and thinker of utopia and freedom, who did not hesitate to say yes, when there was a need to say yes, in his vast Crocean and Marxist literature, and to say no, when there was a need to say no, to the violent dogmatism of his own side, without minding the fables of power for power's sake. Giò, I call on all citizens of Ales to conceive and then create their own agora square, in which to move from the overcome "yours and mine" to "ours." A masterpiece, which is still unsurpassed today in its definition of the new and the modern, as an open spectacle of tradition, preventing it from becoming traditionalism, but rather pushing will and imagination further, further.
And there was (is) Gio!
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
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