Autobiography in pictures: Myself to the world. Autobiography is a term that usually indicates new literary genre, which came after historical, realistic, fantastic and psychological novels. French writer and critic Sergey Dubrovsky, who wrote a novel "Son" in 1977, can be considered as a godfather of the genre. This does not exclude the fact that examples of autobiographical novel has been existed before, but it was theorized as a genre only in the 70s of the twentieth century and since then is perceived as an indicator of the ambivalent messages, balancing between self-reference and filtered interpretation of reality that would not exist without its own "self", looking at it and giving it own interpretation. In other words, in basis of the autobiography is a controversial agreement, triple oxymoron of identity: the one who writes or the author is also a narrator and protagonist. Walter City, Tiziano Scarpa, Giuseppe Jenna, Antonio Moresco, Francesco Pecoraro, Emanuele Trevi and Aldo Nova contributed to the development of this genre in Italy in book "Obscene Life". Autobiography in images has never been investigated as detailed as it does by an artisr from Bari, Francesco Attolini, awarded in Italy and in other European countries and who has acquired a shelter in St. Petersburg for already several years. Attolini`s work with self-portraits of amazing and unique self world began with a solo exhibition at the Gallery of San Lorenzo in Milan under the title "I am all the people that I have met". From there, formed in Brussels technique and artistic investigations of the artist got to Russia, including Moscow Biennale to go back then to Italy through the main entrance of the Italian Pavilion in the Venice Arsenal in 2011. The theme of self-portraits Atttolini video is not a figure of the artist and it speaks for itself, indicating an important innovation: is it possible to make a self-portrait without the projection of the image of the one who creates it?! On the other hand, creating his works Attolini takes seriously the moment of selfidentity: for him identity and value are enclosed in the dialectical relationship that never crystallizes, constantly moving from the outer to the inner. The Selfworld in Attolini`s portraits is displayed from the roots, his spiritual world is brought out in looks, in the people, in the gestures of others. I am all people that I have met. Thus it appeares to be possible to make an autobiography without the selfworld of the artist on the screen, but it is still there, not because it is invisible as the ubiquitous demiurge, even though it is for all to see - it is expressed in the other form, on other persons faces. Thus Attolini releases out of the subject experimentalism, to which literature and art have become accustomed for decades and that Italo Calvino called "sea of ​​objectivity". So we are faced with a huge "itself", which takes a picture entirely, but it would be wrong to call it the artist`s narcissism, because these images become themselves only when they are dealing with the extreme ends of its value, with another consciousness with another person, which are not his own. In any case, the artist is given the opportunity to intervene in the moving pictures, images, changing their particles, slowing down or speeding up the dynamics, affecting the whole installation, as in the movies. He is like Hegel's Owl of Minerva, which acts in the evenings, using a fait accompli and acts out the role and aims to know what happened with the help of techniques and tools. The Work of Art in the words of Martin Heidegger, along with the language of the definition of hermeneutics of Hans-Georg Gadamer is not something a person can use at his discretion. Yes, it is inherent in technical, production side, but it is ruled by the very essence of art, which is beyond the intentions of wanting, owning an illusion of its creation. Attolini knows about it, because he works with the identity and knows that it can not be arbitrarily. Regarding the identity, we are more likely her slaves, not the owners manipulated to infinity. The identity can be lived through, passed through, it can be even worked out, but the trajectory of its recognition and its inter-disclosure is elusive. Identity never becomes entirely the prerogative of a subject who is looking for himself. As a result, a self-portrait becomes a world of its own: the discourse of itself about itself immediately goes into the discourse about peace in the world, escape into a different reality, the output of a sealed chapel of self-identity, cultural adventure. Aristotle wondered whether there can be a world without soul. Which meaning it would have, what sense would have settled for the existence of a reality, if it wouldn`t be possible to learn experience from this? Regarding to Kant and some darkest Italian autobiographies the global experience puts its own "itself" in front of a black hole, intractable decoding thing in itself, exciting uncertainty, in which there can be neither joy nor feelings, but only the mystery, the mystery of excitement. These features are completely absent in Attolini`s works, for whome the process of self-determination, which bears adventure and amazing character, is the subject of admiration, not fear, discovery, and not hacking. Even from this point of view, videoart of Italian exile in St. Petersburg is abnormal: this gesture of his extraordinary happiness as the end result, and in the subjective fit. So, the promise becomes an act of trust in relation to the other, who I am. Text: Andrea Sartori.

Puglia - Italy Pavilion - 54. Exhibition Biennale of Art in Venice Complex of S. School - from June 30 to October 23, 2011 The exhibition of Italian artists at the Italian Pavilion at the 54th. Venice Biennale is an unprecedented event. The curator of the Italian Pavilion, 2011, Vittorio Sgarbi, wanted to give it a dimension altogether unusual opening the Venetian event to all regions of Italy and would allow each region to expose the most relevant or promising contemporary artists. The aim is to outline, for the first time, a state of contemporary art in Italy, investigating in depth the Italian creativity throughout and making the same tribute to the 150th Anniversary of the Unification of Italy. The Section Puglia, in collaboration with the Department of Culture of the Province of Bari in the monumental complex of St. Scholastica, hosts for the occasion sixty Apulian artists, teachers valued in contemporary art. Most of them are teachers of Academy of Fine Arts; others have an artistic journey of all respect. Have been wisely chosen to represent their territory with installations, paintings, video, sculpture, performance, graphics and photography. Vernissage Thursday, June 30, 2011 Curator: Vittorio Sgarbi Artists in the exhibition: Angelo Accardi, Francesco Attolini, Emilio Bosco, Giovanni Albanese, Massimiliano Alioto, Pantaleo Avellis, Giuseppe Bellini, Pino Brescia, Andrea Buttazzo, Vito Capone, Michele Cera, Piero Capogrosso, Mirella Carella, Michele Cirillo, Fusca Carlo, Nicola Carrino, Berardo Celati, Pierluca Cetera, Daniela Corbascio, Luca Curci, Michele Damiani, Fernando De Filippi , Donato Del Giudice, Franco Dell'Erba,Teo De Palma, Franco Dellerba, Lea Di Ruberto, Nick Demarinis, Luciana Galli, Piero Di Terlizzi, Raffaele Fiorella, Carlo Garzia, Igniazio Gadaleta, Moreno Gentili, Beppe Gernone, Gaetano Grillo, Gianmaria Giannetti, Claudia Giannuli, Francesca Guarini, Paolo Laudisa, Paolo Lunanova, Iginio Iurilli, Angela Lomele, Gianna Maggiuli, Franco Menolascina, Domingo Milella, Raffaele Fiorella, Fernando Miglietta, Sergio Miglietta, Giovanna Montelli, Roberto Montemurro, Pino Navedoro, Rocco Normanno, Gianfranco Pagnelli, Cristiano Pallara, Pippo Patrono, Aguinaldo Perrone, Morena Petrillo, Francesco Paolo Picella, Luigi Presicce, Francesco Paolo Picella, Agnese Purgatorio, Elia Sabato, Salvatore Sava, Francesco Schiavulli, Carlo Michele Schirinzi Lino Sivilli, Jolanda Spagno, Giuseppe Spagnuolo, Giuseppe Sylos Labini, Tarshito, Lino Sivilli, Lucia Stefanetti, Domenico Ventura, Mariangela Verriello, Fortuna Todisco, Gianni Zanni The project of the Italian Pavilion in the regions of Italy will be documented by a catalog of over 1500 pages that collect the works of all the artists, published by Skira. HEADQUARTERS BARI - complex of St. Scholastica, Via Venezia. from June 30 to October 23, 2011 Hours: 11-14, 19-22 Closed on Wednesdays Free admission Info: 080 5235786 - 080 5210484