Precisely in the days preceding the opening of the schools, it is stimulating to enter this work where Macke represents four girls immersed in the dark green of a luxuriant garden. Collected in a sort of tacit and personal reflection, however, they do not seem to reach out either towards their companions or towards the attraction of an imminent and, why not, desirable future.
Behind the resigned attitude of the posture, there is the subtle melancholy of a choice perhaps renouncing: the lowered eyelids, the reclined head, the palpable silence, well draw the age of sad passions repeatedly recalled in recent years by Professor Galimberti: an era where the future, from a promise, becomes a threat to the point of extinguishing initiatives, emptying hopes, demotivating growth and imploding vital energy (cf. M. Benasayag and G. Schmit, The age of sad passionsFeltrinelli, Turin 2004).
While the bright colors of the clothes stand out, the geometric compactness of the shapes framed by the green of the dense foliage, however, the expression of the faces that seem destined not to meet does not light up.
It should be remembered at this point that Macke made the work in 1912 addressing mostly to the bubbling public of the Belle Époque. In all likelihood, the author’s intention was simply to stare at the peaceful reunion of four adolescents who, in the thick of the vegetation, wished to stop in sweet harmony.
And yet, this reading of the painting is well suited to the cultural context in which we live today: the discomfort that now belongs to so many seems to dominate the scene. protagonists of the new generationsvery often victims of an exasperated narcissism that even families struggle to counter (See L. Picozzi, Too much family hurtsRizzoli, Milan, 2020).
So how is it possible to “live without fear in the age of uncertainty”? Thus was the title of an exhibition that achieved great success at the 2021 edition of the Rimini Meeting. The courage to say I, in fact, requires an energy that none of us can give ourselves.
Certainly Macke, in painting this work, could not imagine that he was interpreting the generally unconscious sentiment of so many young people today.
“I’m tired of empty conversations / Because nobody listens to me anymore,” Demi Lovato sings in hers Anyone (“Someone”). It is the impression that emerges looking at these four girls who do not seem to listen to each other, intent as they are in a conversation perhaps empty. But Demi Lovato continues and her is the cry of someone who invokes someone: “Please send me someone / Lord, is there someone? / I need somebody”..
“Only if we take our cry seriously” observed Carrón in a recent assembly “will we be able to intercept all those who are shouting their need”.CopyAMP code
It is therefore a question of rekindling desire, to fight boredom thus breaking the implosive circle of a sick self-referentiality that hides, under the balanced and composed appearance of Macke’s girls, the nostalgia for a sense that begs to be found, perhaps thanks to the encounter with Someone who truly conveys it.
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