Italy Crucified by Gaetano Pesce

A seven-metre-tall crucifix dripping with blood, prayer pews, a font and tricolour candles. From today, this is how visitors will find the Teatro dell'Arte, recently reunited with the nearby Triennale in a project by Studio De Lucchi. This is the latest provocation by Gaetano Pesce, who hopes to drive the Italians to retrieve and value the creativity for which they have always been famous the world over.


Why this vision of crucified Italy?
I observe Italy from the outside and see that it is full of criticism. There has been a negative attitude since after the war, except in the 1960s. Young people say they are prevented from being creative but if young people encounter problems they just roll up their sleeves and resolve them. When I had something to say, I didn't wait for anyone's permission to say it. Those who are idle and lazy will never resolve their problems. Instead, all those who have outstanding initiative don't sit around waiting for someone to make special laws for them. I see this country falling behind because the citizens are not proactive. My image is filled with suffering and almost death because if we continue like this we will kill off this country. It is time to change from being pessimists to being optimists, proactive and building things.

How did it get to this point?
We are full of history, we are the jewel of the world and everybody admires us so we think we can live on our reputation but it is not so. I felt it was time to start a discussion, to speak clearly to the politicians, on the left and on the right, although I would say the left-wing ones are most to blame as they are supposed to be progressive and should be more proactive. We have a petulant political class.

What do they think about Italian design in New York?
Italy is always seen as a creative country—which we are. It is the only country in the world that has no natural resources and keeps going thanks to its creativity. Unfortunately, the politicians are not creative at all. How can the ruling class put itself on a par with Lorenzo the Magnificent? Or the Sforzas or the Duke of Mantua, who did exceptional things? The greats of the past have always left signs. Since the last war, our governors have never wanted to leave anything. There is no longer a desire to do things for our country.

Is your message directed at the design public?
No, because design, fashion, cars and tool machines have outstanding prestige in the world and are what keeps us going. In November, I wrote a letter to the President of the Italian Republic suggesting he make his end-of-year speech to the Italians not from his usual desk weighed down by styles from the past and an old-fashioned Italy but from one of the workshops where they produce design and Italian excellence. The following year he could do it from a fashion house and the next year again from where they build the excellence of Italian cars, in Modena…this would slowly establish recognition for those who do something for the country, a mindset that values positive people. The President replied that he preferred to make his speech from the Quirinale Palace because it is the home of all Italians. It is as if those in power had lost touch with reality. If we had young politicians aware of the reality in their country, things would probably be better. Design affects philosophy, religion and politics because it is a knowhow that touches on all situations. We need new ideas. Take the Messina Bridge—if we simply build a straight bridge from one side to the other, we shall lose an opportunity. What we should do is play the card of innovation. I could—for example—make an S-shaped bridge resting on 20 huge piers, which were as many showrooms for the Italian regions. Plenty of people would want to go to Sicily and see this wonder. You have to play the card of innovation and avoid copies.ES

Triennale di Milano
Viale Alemagna 6, Milan
12–17.04.2011, 10.30 am–10 pm www.triennale.it