Nicoletta Morozzi, wife of Andrea Branzi, spoke on Interni about the film Mostra in prose form on the work of the great designer and artist screened as part of the 23rd International Exhibition of Triennale di Milano

Andrea often uses the word unpredictable in his lyrics. Andrea Branzi – exhibition in prose form is an unpredictable project.

A serene escape from every gender constraint, which manages to bring together architecture, design, poetry, art and music, with the eyes and heart turned to normal reality, with its joys and tragedies. Without following a temporal path or a theme to be carried out with a precise logic.

It is clear that my opinion is fiercely biased, but as Andrea says, we will never know the truth, nor do we care that much about knowing it, if we cannot speak of truth, authenticity is total.

The exhibition-video-story-portrait offers many reading possibilities, but the one that surprised me the most makes it fall within the large family of models that Andrea has always created, starting from his thesis degree to those still in progress on his table today.

It is in the models, as well as in objects, installations or books, that his thoughts are formed.

And even where he himself recognizes his thinking, he makes it grow, he is surprised by it, transforming it if after some time he finds it inadequate.

They are significant models, almost always made at the end of the design process, not at its beginning. Without worrying about formal perfection, they must be able to transmit a spark capable of activating reflections and other stories (not necessarily his own), triggering a continuous generative system.

It's as if there were never arrival points, but stages that already contain the clues of what will happen next.

Exactly like in his drawings: impeccable lines that do not join at the corners, to always give a chance to freedom and growth. Even his friend Ettore was fascinated by him.

Except that here, in addition to paper, pencil and mirrors, poems, music and YouTube videos are used.

To instead describe the method with which the exhibition in prose form was formed, I would say that the closest example is that of the do-it-yourself of the most extreme genre theorized by Malcolm McLaren and forcefully introduced in Italy by Lorenza (Branzi, ed).

The material was put together in a completely homemade way, photocopying, choosing the texts and images, navigating an immense archive (but how much stuff did he do?) and not well ordered. Except for the editing (for which there were no adequate tools) and, crucially, for the reading of the texts done by Alessandro Preziosi.

Alessandro's choice is linked to the intention of relying on the senses: the tone of his voice would have had the very delicate task of filling and compacting the empty space of the theater or hall with which he would have had to deal 'work (we have never called it that yet, but in fact this definition can also be included among other improper definitions: even works of art and opera rely on museum spaces and the theatre).

Alessandro was also overwhelmed by the passion for this home-made atmosphere, but with great professionalism he managed to express the spontaneity and normal tone of the stories told.

It is also thanks to him if, in the context of the video, the theoretical texts take on the dimension of stories that hold the scene, but can also be easily listened to in the living room, in the kitchen or in the shade of a tree . As in "Normal Reality", the final chapter, interpretation is free, available to everyone, not just academic criticism.

Suffice it to say that, in the backward reconstruction of the project, the choice of music was first focused on Erik Satie, Philip Glass, Jerry Lee Lewis, Jimi Hendrix, to arrive, as Andrea's first reference, at the song Every time by Vasco Rossi, listened to on loop for days, and ending with Emiliano Pepe and Patti Smith.

Text by Nicoletta Morozzi