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FOCUS | Tutto l’anno è Natale nelle case degli Artisti

·21 min·2 clips
How do the houses of writers like Patrizia Cavalli become inseparable from their words and bodies?
The episode begins by stating that places inhabited by writers are never just places; they assume meanings intertwined with their words, gestures, and bodies, becoming a form of art. It introduces the house of Patrizia Cavalli as a central example, noting her death in June 2022 and how her house, filled with objects, was essentially her world. Giorgio Agamben's writing in 'Amicizie' is cited to emphasize that the world, body, and mind cannot be separated. The discussion expands to how a house serves as a refuge for inspiration, referencing Carl Gustav Jung's obsessions as described by Sandra Petrignani in a new book. Petrignani's previous work, 'La scrittrice abita qui,' is mentioned for its exploration of physical travels to the homes of great female authors. The episode then shifts to Fabrizia Ramondino, detailing her house in Viale Elena, Naples, where no one remembers her, illustrating the oblivion faced by many artists' homes. Ramondino's life is described as a dizzying change of places, from Naples to Mallorca, where her childhood home was a lost paradise she revisited in dreams. Her later homes in France and Ventotene are noted, with towers recurring as a symbolic element. The focus moves to Sabaudia, a coastal town south of Rome, which became a hub for intellectuals in the mid-1960s. Writers like Alberto Moravia, Pierpaolo Pasolini, and Bernardo Bertolucci frequented this area, finding inspiration in its white cube houses amid dunes and pine forests. The episode describes how these intellectuals would gather, argue over coffee or wine, and then retreat to write, fostering a creative community. Ian McEwan's collaboration with Bertolucci on an unfilmed movie set in Capri is mentioned. Throughout, the episode weaves together personal anecdotes, literary analysis, and historical context to examine the role of domestic spaces in artistic life.
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